Crocodiles snapped their jaws maliciously, but then grew lovelorn in "A Bend in the River," an enchanted tale presented by the Khmer Arts Ensemble.
Top 10 dance events of 2013 — and more dancing memories to cherish
The Star Ledger | 17 Dec. 2013
Trisha Brown Dance Company in 'Les yeux et l'âme'
(Van Meer)
The British are coming! The British are coming! Oops, they already left.
The past year in dance saw what may have been the biggest British
invasion since 1812. We swooned, hypnotized by oily vampires in Matthew Bourne’s remake of "The Sleeping Beauty." We recoiled as Royal Ballet star Edward Watson slithered through the ooze in "Metamorphosis," and we stirred uncomfortably when choreographer Charlotte Vincent stained the walls with menstrual blood in her plaintive "Motherland."
In 2013, American Ballet Theatre launched a tasteful, new production of its buccaneer ballet, "Le Corsaire," and New York City Ballet restaged George Balanchine’s provocative "Ivesiana." Yet some of this season’s most refreshing reruns were modern dances. The Martha Graham Dance Company revived Graham’s tormented "Phaedra" and Richard Move’s glamorous, postmodern epic, "Achilles Heels." Cedar Lake imported Jirí Kylián’s mercurial "Indigo Rose." And Big Dance Theater returned to the battered pumpkin patch of "Ich, Kürbisgeist."
Adding to the list of this year’s memorable creations, Mark Morris gave us his dangerous and nearly fatal "Crosswalk," and the dueling "Jenn and Spencer." Graham Lustig
animated the characters of Kipling’s "Jungle Book," in "Jangala," while
his "Jazzy Nutcracker" gave the old chestnut a sexy makeover.
Crocodiles snapped their jaws maliciously, but then grew lovelorn in "A
Bend in the River," an enchanted tale presented by the Khmer Arts Ensemble. And we shared unsettling, close-up views of Susan Marshall’s dancers in her media critique, "Play/Pause."
Flamenco diva Pastora Galván
So many dancers gave outstanding performances this year. A robust Pastora Galván kicked the stuffing out of "Metáfora" at the New York Flamenco Festival. Parisa Khobdeh fought desperately for her life in Paul Taylor’s "To Make Crops Grow." Carla Körbes, of Pacific Northwest Ballet, made a delicate Terpsichore in Balanchine’s "Apollo"; and the women of Dance Theatre of Harlem displayed a take-no-prisoners approach to "Agon." Isabella Boylston plunged into her spring debut as Kitri, in American Ballet Theatre’s "Don Quixote"; while, in the fall, Veronika Part raised ABT’s "Les Sylphides" to ethereal heights. New York City Ballet’s Jennie Somogyi and Tyler Angle proved divinely matched in an excerpt from Christopher Wheeldon’s "Mercurial Manoeuvres" at the Nantucket Dance Festival. Odissi virtuosa Sujata Mohapatra sparkled at "Dance Fest India"; Ramya Ramnarayan was a supple devotee of Krishna in "Shyama," at the New York International Fringe Festival; and Rajika Puri proved an expressive storyteller in her "Sutradhari Natyam." A quick-footed Gabriel Missé led Analía Centurión through labyrinthine tangos at the Dardo Galletto Studios. Contemporary dancer Akram Khan seemed tireless in his imaginative solo, "Desh," at the White Light Festival. And who could forget Laura Quattrocchi, thrashing in a rising tide of plastic waste in Joshua Bisset’s "Spring Rain," performed in a Jersey City store window?
Yet certain events deserve special mention:
"I’m Going to Toss My Arms — If You Catch Them, They’re Yours":
In Trisha Brown’s piece, the dancers struggled against gusts of wind
that seemed to be trying to wipe the stage clean. This dance marked the
end of the ailing choreographer’s career. Yet the Trisha Brown Dance Company’s engagement,
in January and February at the Brooklyn Academy of Music, was not a
farewell. Defiant performances of Brown masterpieces "Set and Reset,"
"Homemade," "Newark (Niweweorce)" and "Les yeux et l’âme" made it clear
that her works must survive.
"Interior Designs": Psychedelic patterns bathed the stage and images raced across giant video screens as the Carolyn Dorfman Dance Company celebrated
its 30th anniversary with the premiere of "Interior Designs," at Kean
University in April. Employing the latest Xbox technology, "Interior
Designs" spilled across the line that separates audience members from
performers drawing everyone into its complex, digital world.
Julie Kent and Roberto Bolle in 'A Month in the Country'
"A Month in the Country": American Ballet Theatre
has been working through the repertoire of the late British
choreographer Frederick Ashton. This spring, "A Month in the Country"
had its turn at the Metropolitan Opera House. Ashton’s sendup of a
Russian lady’s flamboyant intrigues lent itself to deliciously comic,
yet sensitive portrayals by Julie Kent, as the mischief-making Natalia Petrovna, and by Roberto Bolle, as everybody’s darling, the tutor Beliaev. Danil Simkin, Arron Scott, Sarah Lane and Gemma Bond added virtuoso turns and tantrums, with Victor Barbee and Grant DeLong as Natalia Petrovna’s daffy husband and her long-suffering suitor, respectively. Sheer delight.
"Four Corners": Alvin Ailey American Dance Theater continues to commission handsome, new works from choreographer Ronald K. Brown. His
ambitious "Four Corners" received its premiere in June during the
company’s high-profile return to Lincoln Center for the Performing Arts.
Blessing every corner of the stage, Linda Celeste Sims was a proud matriarch leading the female ensemble, with Matthew Rushing as
her fluent, male counterpart. An intimate work, despite its scale, and
filled with otherworldly rhythms and mystic architecture, "Four Corners"
continues Brown’s spiritual quest for enlightenment.
"STePz": A plain, wooden staircase was the centerpiece of "STePz," Savion Glover’s brilliant
showcase at the Joyce Theater in June. But, oh, the sounds that stairs
can make when Glover comes knocking and climbs them in his special way.
More than a nostalgic tribute to the late Bill "Bojangles" Robinson and
his "Stair Dance," "STePz" underscored the virtuosity of today’s
performers, including Marshall Davis Jr. and a trio of fly hoofers in heels: Ayodele Casele, Robyn Watson and Sarah Savelli. Dancing to Stevie Wonder’s "Sir Duke," Glover showed his mellow side, embracing tap’s history as popular entertainment.
"The Rite of Spring": Those pounding rhythms can
only mean one thing — Igor Stravinsky is at the piano again and a tribe
of Russian primitives are preparing a maiden sacrifice. The 100th
anniversary of "The Rite of Spring" did not go unnoticed. Douglas Martin’s new version for American Repertory Ballet set the "Rite" in a competitive, modern workplace. Paul Taylor slyly substituted music by Ferde Grofé. Meryl Tankard and Tero Saarinen both turned out demanding solos. Yet the most brilliant take came from choreographer Bill T. Jones and director Anne Bogart, whose
touring production of "Rite" visited Bard College and the Brooklyn
Academy of Music. In this version, the victim is a traumatized soldier
who gradually recalls he has committed a massacre. Fragmenting the
score, with abrupt flashes of light and breaks for rambling dialogue,
the collaborators pointed to humanity’s yearning for ecstasy and
underscored our tragic addiction to violence.
The Bill T. Jones/Arnie Zane Dance Company and the SITI Company in 'A Rite'
Drive East Festival: Amid the wealth of Indian dance performances that take place locally every year, the Drive East Festival, co-produced by Navatman and Indian Raga, offered
something special: an attempt to re-create the intensity of the arts
scene in Chennai. Making its debut at La MaMa, in August, Drive East
presented no fewer than 26 dance and music concerts in a week. The most
outstanding performers included whirling Kathak virtuoso Shambhavi Dandekar and Mandakini Trivedi, a subtle mistress of the wave in Mohiniattam. Astonishingly painted, Kathakali soloist Kalamandalam Shanmukhan depicted
the childhood and penances of the demon Ravana, his energy concentrated
in fluttering cheek muscles, stamps and bellowing cries.
Edward Watson as Gregor Samsa in 'The Metamorphosis'
"Metamorphosis:" It seems fair to say that no one
who saw "Metamorphosis" at the Joyce Theater in September will ever
forget to take out the garbage again. The prospect of a giant insect
moving in and squirting brown goo everywhere until the floor grows
slippery, the walls are streaked and the bedclothes become a sticky mass
is simply too horrible. Yet Kafka’s tale of physical decay, and a
family unable to cope, was poignantly danced by the limber Edward Watson and a cast that also featured Nina Goldman, Bettina Carpi and Corey Annand. An unforgettable encounter — and better at the Joyce than in the laundry room.
"Romeo and Juliet": Douglas Martin, the director of American Repertory Ballet, has
a special affinity for "Romeo and Juliet." His production of the
ballet, which appeared fully staged in October at the State Theatre in
New Brunswick, moved seamlessly from one episode to the next, hitting
all the passionate high-notes in Prokofiev’s score. Though simply
decorated, the production never failed to create a sense of place; and
Martin’s handling of the boisterous crowd scenes — making the company
appear larger than its actual size — revealed his canny professionalism.
This "Romeo" marked a watershed in the company’s history.
San Francisco Ballet in Christopher Wheeldon's 'Ghosts'
"Borderlands," "Classical Symphony" and "Ghosts": When San Francisco Ballet visited Lincoln Center for the Performing Arts in October, the rich menu included Wayne McGregor’s dazzling, visual spectacle, "Borderlands"; Yuri Possokhov’s lightning-fast "Classical Symphony"; and Christopher Wheeldon’s contemporary "ballet blanc" called "Ghosts." Director Helgi Tomasson piled on the premieres and the dancers were astonishing, especially supple Maria Kochetkova; ferocious Sofiane Sylve; and high-flying Gennadi Nedvigin; with Yuan Yuan Tan memorably displaying the purity of her line in the adagio of "Suite en Blanc." Led by Pascal Molat, the men of the company received a wonderful showcase: playful, but susceptible to heartbreak in Mark Morris’ oh-so-innocent "Beaux." If only San Francisco Ballet could return each year.
Loved and loathed
Nicolette Depass and Norwood Pennewell in Garth Fagan's 'Woza'
Loved: Amid a season of vibrant novelties, Garth Fagan Dance revived a gem from 1983. Vitolio Jeune
was the sensitive hero catapulted into the past in "Easter Freeway
Processional," at the Joyce Theater in November. Entranced by the music
of Philip Glass, or joined in tableaux like human
collages, the cast transported us back to a time of religious verities
and social niceties. Here, couples dreamed together, forming seemingly
uncomplicated attachments, and no one looked behind the façade of a
handshake and a smile. Fagan placed us in the middle of this Never-never
land, yet we remained outside, too — watching everything as
disillusioned strangers from a future yet-to-be. It paid to keep a
tissue handy for the moment when, in a lunge, the women rested their
heads so easily and trustingly on their partners’ shoulders.
Loathed: Slickly choreographed, yet tawdry in concept, Angelin Preljocaj’s "Spectral Evidence" for New York City Ballet,
in September, turned the company’s ballerinas into "witches," with
red-hot bottoms peeping out from beneath their nightdresses. The icky
costumes were by Olivier Theyskens, but we can thank
Preljocaj for this sick fantasy in which the women were stereotyped as
temptresses, scarred and punished with hellfire for seducing their
saintly menfolk. Supposedly, this ballet was about the Salem witch
trials, but don’t blame the Puritans. Most of this choreographer’s works
catch him drooling.
Best surprise: Who would look at the tango dancers swinging from bungee cords in Brenda Angiel’s whimsical, aerialist works and imagine this Argentinian choreographer paired with Doug Varone?
As it turns out, Varone himself could see the possibilities and the
match would be inspired. His collaboration with Angiel and her company
on "Bilingua," at BAM’s Fishman Space in October, created a double dance
floor with intersecting planes in space, and added a new dimension to
Varone’s already lush, organic patterns. The same performance saw a
haunting rendition of his "Boats Leaving," capping a successful year for
Varone that included the premiere of another multileveled piece, "Mouth
Above Water," at the 92nd Street Y, and the choreographer’s intimate contribution to the Martha Graham Dance Company’s series of "Lamentation Variations."
Most overrated: Just because a person can put
classical steps together doesn’t make him a choreographer. Great artists
have visions that extend beyond the mechanics of glissade-jeté. Alexei Ratmansky, however, has trouble making ballets that are cogent wholes. This year, his "Shostakovich Trilogy" for American Ballet Theatre was
marred by cliché, vulgarity and a bizarre taste for Soviet kitsch. His
"Tempest," for the same company, proved garish and dramatically lame.
Don’t ask about the awkward costume change near the end of "From Foreign
Lands," or about Ratmansky’s hostility toward his ballerinas. Sadly,
after so much mediocrity, it seems beyond hope that he may redeem
himself.
ចុចអានតើពេលណាទើបខ្មែរភ្ញាក់ខ្លួនដឹងថា សម រង្ស៊ី បោកប្រាស់ដូច សី ហនុ និងហ៊ុន សែនដែរ?
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