Downtown Decoys: Trisha Brown, and Liebeslieder Walzing with George Balanchine, at the Paris Opera Ballet

By Paul Ben-Itzak, with contribution by Lisa Kraus
Copyright 2003, 2017, Paul Ben-Itzak & Lisa Kraus

PARIS — Why does Trisha Brown have to cross the Atlantic Ocean to find a major ballet company to undertake her choreography? Why does New York City Ballet refuse to look below 42nd Street for additions to its repertoire, instead padding its Balanchine and Robbins legacy with filler from Peter Martins and others? I fumed over these questions last week at the Palais Garnier, as I exalted over the Paris Opera Ballet’s breathless interpretations of two newly acquired American masterpieces, Brown’s 1979 “Glacial Decoy,” with photography, sets, and costumes by Robert Rauschenberg, and Balanchine’s 1960 “Liebeslieder Walzer,” to Brahms.

To receive the complete article, first published on December 30, 2003, subscribers please 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 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 in that amount to paulbenitzak@gmail.com, or write us at that address to find out about payment by check. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@@gmail.com .

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Ballet showdown: Peter Martins versus Paul Mejia

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martytexas4Metropolitan Classical Ballet guest artists Vilia Putruis and Mindaugas Bauzys in Paul Mejia’s “Cafe Victoria.” Photography by, copyright, and courtesy Marty Sohl.

Text copyright 2010, 2017 Paul Ben-Itzak
Photography copyright Marty Sohl

(The opinions expressed are those of the author and do not necessarily reflect the photographer’s views. In 2011, New York City Ballet’s press office revoked the Dance Insider’s press ticket privileges, a policy it continues to maintain.)

ARLINGTON, Texas — Three ballets into the one-night only season of Metropolitan Classical Ballet July 17 at Texas Hall, I approached Paul Mejia, the company’s co-director and the author of all three dances, and posed the rhetorical question: “What I don’t understand, purely from an artistic standpoint, is what Peter Martins is doing in New York and you’re doing here.” “Well, my family’s here,” Mejia answered, but the question persists: After seeing Mejia succeed brilliantly in three different formats — a group piece and a duet to classical music, then a spicey contemporary work to Astor Piazzolla — in which New York City Ballet chief Martins has consistently failed, one has to ask: How has it come to pass that the house that Balanchine built continues to be maintained by an incompetent architect when there is clearly other Balanchine-bred talent out there that actually understands and is able to perpetuate the Balanchine aesthetic in a way that lives up to his legacy?

To receive the rest of the article, including more photos, 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 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  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 January 31, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .