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

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From Marie-Agnes Gillot and the Paris Opera Ballet, Heart and Technique in Balanchine, Robbins, and Preljocaj

By Paul Ben-Itzak
Copyright 2000, 2018 Paul Ben-Itzak

In tonight’s return to the Paris Opera Ballet repertoire of Maurice Bejart’s “Bolero,” Marie-Agnes Gillot will dance the lead role. Gillot retires from the Opera March 31.

PARIS — For as long as I’ve been covering dance intensely, I’ve been hearing what a brilliant dude this guy Balanchine is. So much so that he doesn’t even require a first name on first reference — kinda like “God.” So I’ve not broadcast that many of Mr. B’s ballets leave me cold. But I had a nagging sense — mostly from seeing the work performed by Dance Theatre of Harlem and Suzanne Farrell’s companies — that it didn’t need to be so, and may have just been the tepid presentations by New York City Ballet, only selectively amended by San Francisco Ballet’s clean executions of the 1950s black and white dances. Well, Saturday night at the Palais Garnier, courtesy of Paris Opera Ballet dancers Jean-Guillaume Bart, Agnes Letestu, Delphine Moussin, Karin Averty, Beatrice Martel, Aurore Cordellier, and Dorothee Gilbert, I was re-educated: It ain’t necessarily so. Balanchine does not have to be coldly rendered. The abstract, architectural beauty of his ballets can be inhabited in a way that gives them life. Elsewhere on Saturday’s mostly winning mixed program, Manuel Legris provided a reminder of how Jerome Robbins humanized the dance, Marie-Agnes Gillot and Clairemarie Osta rendered Angelin Preljocaj’s stark world with warm humanity, and dancers no less talented than all these could not save the evening’s one premiere, Lionel Hoche’s “Yamm,” from making me want to yell, “J’accuse!” (As I don’t yet know how to say, “Make it stop!” or “Oy!” in French.)

To receive the complete article, first published on October 23, 2000, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com. Sign up by March 1 and receive a FREE Home page photo ad.

“West Side” on East Side

west-side-story-smallAmong the emblematic films being screened for Making Faces: Images of Exploitation and Empowerment in Cinema, running through April 30 at the Museum of Modern Art: “West Side Story,” 1961. Directed by Jerome Robbins (American, 1918 – 1998) and Robert Wise (American, 1914 – 2005). Distributed by United Artists. Film Study Center Special Collections, The Museum of Modern Art. Above: Richard Beymer and Russ Tamblyn.

All that Jazz — and all that Kowroski

nycb-jazzNew York City Ballet’s Sara Mearns and Amar Ramasar, with the David Berger Jazz Orchestra in the background, in Susan Stroman’s “For the Love of Duke.” Photo ©Paul Kolnik and courtesy NYCB.

nycb-jazz-kowroskiNew York City Ballet’s Maria Kowroski, Joaquin De Luz, and friends in Balanchine and Kochno’s “Prodigal Son.” Photo by and ©Paul Kolnik and courtesy NYCB.

Copyright 2011, 2017 Paul Ben-Itzak

(Editor’s Note: Later the same year as that in which this review was first published, and after 16 years of dedicated coverage by more than a dozen critics of international renown and our championing the company and its dancers in the face of a strike by its orchestra that threatened to shut down the “Nutcracker” season and against fatuous criticism by the New York Times, the DI’s press ticket access to New York City Ballet performances was revoked by the director of its press department, after we criticized the press department for alerting the New York Times to important company news before notifying other media. A recent appeal to the same director, which included an apology, went unanswered. If you’d like to read about current performances of  City Ballet on the DI, as you continue to read about American Ballet Theatre and other companies, contact press director Rob Daniels at RDaniels@nycballet.com . (Be nice.) If we persist, it’s because no one person – be he a hard-working respected veteran press officer or a precipitous editor – has the right to deprive these dancers and this jewel of a company of the type of informed coverage the DI has always provided.)

NEW YORK — Forget what you may have read elsewhere: With Susan Stroman’s semi-new “For the Love of Duke,” New York City Ballet has a run-away hit, that rare jazz ballet which makes ballet dancers look great even as the ballet dancers enhance the phenomenal music, in this case by Duke Ellington and Billy Strayhorn. Those who complain about clichés in the work, as some critics have done, miss the point, and probably missed Stroman’s transformational Broadway hit “Contact”: The woman knows how to make choreography that connects to this quintessentially American musical form and that, putting it simply, dances jazz — and, in this piece, shows that she knows how to bring out the jazz dancer in classically trained performers, who add a rare quickness, deftness, and dexterity to the mix that jazz dancers don’t always have. Add a textbook lesson in how to interpret an archetypal contemporary ballet role — that of the Siren in Balanchine’s transformational 1929 “Prodigal Son” — such as Maria Kowroski delivered in the ballet which followed the Stroman at City Ballet’s matinee Saturday, and a flawless delivery of the Robbins-Glass urban ballet “Glass Pieces,” and you have stunning proof of a new versatility in this troupe, which well-serves the choreography, when they’re well-served by the choreographers (which was not entirely the case in the Saturday evening performance).

To receive the rest of the article, first published February 8, 2011, 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 .

Deaths and resurrections

jilly-dancesNew York City Ballet in Jerome Robbins’s “Dances at a Gathering.” Photo ©Paul Kolnik and courtesy NYCB.
jilly-art

Girl with a Black Mask in a Red Room,” 2005. Acrylic on canvas in handmade metal frame. By and ©Jo Ellen Van Ouwerkerk, courtesy Woodward Gallery, New York.

Copyright 2011, 2017 Paul Ben-Itzak

NEW YORK — After a temporary blip in my bludgeoning, er, burgeoning French theatrical career Friday night — Sam Bernhardt, c’est moi — I was glad to be back in the cultural thick of things Saturday, finding myself sitting next to Meredith Monk at Judson Church on Washington Square for the afternoon’s Gathering in Tribute to (late DI contributor) Jill Johnston, a genuine gathering of the tribes, and School of American Ballet legend Suki Schorer Saturday night for an impeccable “Dances at a Gathering.” Add a Lower East Side interlude at the Woodward Gallery on Eldridge Street, where painter Jo Ellen Van Ouwerkerk not only made the scene but made her own frames, and there was once more reason to believe that New York is still a many-splendored helluva town and art capital, with a rich past and cause to be confident in its future.

To receive the rest of the article, first published February 1, 2011, including more images, 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 .