Back to the Future: How to access stories on the Dance Insider & Arts Voyager

Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.

Hear them breathe: Brookoff up close

matt image smallCrashing through the membrane: I still remember the first intimate ballet showing I was privileged to see, in Joffrey Ballet co-founder Gerald Arpino’s no-frills basement studio near the Church Street Safeway in San Francisco. The intake and exhalation of breath, the contours of the leg muscles and the grasping of hands right in front of you; there’s nothing like it for appreciating the hard work and honesty that goes into dances rigorously created and earnestly performed. Even moreso when the choreography is built around connections: of partners, of circles (evoking the primordial dances around a fire so eloquently described by Curt Sachs) — of the delicate digits of the pianist to the expressive hands and torsos of the dancers and the musicality of the dancemaker. New Yorkers will be gifted (much as I protest the recent lazy perversion of our language which turns nouns into graceless verbs, trampling the correct and more elegant versions in the process — right? — this term seems to ring just here) with such an opportunity Saturday in Brooklyn, when Mathew Brookoff and his Brookoff Dance Repertory Company occupy the Duffy Studio of Brooklyn’s Mark Morris Dance Center from 5 to 6 p.m., variously occupying Schoenberg’s Six Little Piano Pieces and a Schubert Impromptu in the veteran choreo’s anything but impromptu duet entwinings. (I plead for an exception for that one from Messieurs Strunk & White.) In addition to these new sculptures in motion, Brookoff also expands his recent group work “Fracture” (above) from six to 12 dancers. Free and open to the public. Pictured at the rear, from left to right: Andrew Harper, Tiffany Mangulabnan, and Jordan Miller; in front: Ali Block, Amy Saunder, and Brian Gephart. — PB-I (inspired by Harris Green)

Serenades, plainspoken and otherwise, from Balanchine & Millepied

ringer repost cover

New York City Ballet’s Ask la Cour with, left to right, Rebecca Krohn, Jenifer Ringer, and Ashley Bouder in George Balanchine’s “Serenade.” Photo ©Paul Kolnik and courtesy NYCB.

Copyright 2010, 2017 Harris Green

NEW YORK — City Ballet broke with several traditions by beginning its new season with four weeks of early fall performances (September 14 – October 10). The traditional opening-night gala was delayed until the middle of the fourth week so seats that first evening could go for the special introductory prices of $50 and $25. Repertory included such novelties as the New York premiere of Benjamin Millepied’s recent “Plainspoken” on October 7 and revivals of Peter Martins’s rarely performed “Grazioso” (2007) and “The Magic Flute” (1982). Also out of the ordinary was an aggressive merchandising campaign built around a posh 9-by-12-inch booklet filled with studio portraits of principal dancers which was available for the taking in the theater lobby. Photographer Henry Leutwyler filmed everyone in casual poses and garb a la People Magazine. Most of the men are sporting the scraggly beards the guys insist upon growing between seasons. Daniel Ulbricht, however, is not only clean shaven, but the one dancer whom Leutwyler captured performing an actual step: a soaring 180-degree split leap, with ballerinas Teresa Reichlen, Sterling Hyltin and Sara Mearns seated on the floor behind him. (Yes, seated.) Letters to the editor and postings online promptly deplored the devastation such informality wreaked upon the dancers’ images as golden, gifted beings, so unlike us folks out front. Frankly the only dancers’ images that matter to me are those they create onstage.

To receive the rest of the article, first published on November 3, 2010, including lots more photos, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider  and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. Through June 30 it’s pay as much as you can subscriptions. (Minimum $12.)

Welcome to America, Mr. Trump

harris-1-kowroski

Maria Kowroski in Balanchine’s “Mozartiana.” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

harris-2-who-cares

Sterling Hyltin and Amar Ramasa in Balanchine’s “Who Cares?” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

harris-3-wong

Alex Wong in Rachael Poirier’s “747.” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

harris-4-noces

Juilliard Dance students in Nijinska’s “Les Noces.” Photo copyright Rosalie O’Connor and courtesy Juilliard.

Story Copyright 2011, 2017 Harris Green
New Editor’s Note by & copyright Paul Ben-Itzak

(Editor’s Note, 1-31-2017: This piece, comprising reviews of performances by and of the Juilliard School, the School of American Ballet, American Ballet Theatre’s Jacqueline Kennedy Onassis School, Venti Petrov’s “El Cid” — an epic tale which in part concerns Spain’s Christians *and* Muslims banding together to repel foreign *military* invaders — and a star-studded Dancers Against Cancer benefit with performances by Maria Kowroski, Daniel Ulbricht, Matthew Rushing, Alex Wong, Sterling Hytlin, Amar Ramasa, and others in work by Balanchine and others, was first published on June 24, 2011. Serendipitously re-viewing it this morning for inclusion in the DI Archives, I was struck by how both Harris’s text and the accompanying photographs, while neither written nor shot with this intent, formulate an eloquent aesthetic response to Donald Trump’s attempts to exclude from the United States a myriad of immigrants and refugees, beginning with an executive order last Friday. ((Among many other pictorial and textual elements in this story, following Mr. Trump’s logic, neither Stravinsky nor Balanchine, as citizens of a country besieged by Bolshevik terrorism, would ever have been admitted to France, let alone the United States.)) The new headline above, thus, as this note, are my entire responsibility and do not necessarily reflect the opinions of either the critic or the photographers. For continuing coverage of the national and international political, legal, and community response to Mr. Trump’s efforts, check out the daily broadcasts of Democracy Now.  — PBI)

NEW YORK — Because off-Broadway theater has long proved essential to this city’s artistic life, “off-Broadway dance” should not be considered a patronizing term for what is offered away from City Center and the gilded confines of Lincoln Center when major companies are between seasons. One reason I would hesitate to apply the term to recent spring offerings of the Juilliard School’s Dance Division, however, is that this institution’s renovated home, the Irene Diamond Building, is not only on Broadway but a stunning steel and glass addition to the neighborhood. Another is that the program “Juilliard Dances Repertory” (March 23-27), by including Bronislava Nijinska’s rarely seen but historically essential 1923 setting of the Stravinsky powerhouse “Les Noces,” made a stunning contribution to our artistic life out of all proportion to its occasionally raw, unflaggingly dedicated performance by 34 students. (For more on this ballet as interpreted by the Paris Opera Ballet, see Paul Ben-Itzak’s Flash, elsewhere in these DI Archives.)

To receive the rest of the article, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Archive of 2,000 exclusive reviews by 150 leading critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase before February 14, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .

Protected: American Ballet Theatre’s Fall Season: Perennials & Novelties from Balanchine, Ashton, Tharp, Ratmansky, Millepid, & Lang / by Harris Green, DI Senior Critic

This content is password protected. To view it please enter your password below: