The Best of 2008
December 30, 2008
There were a lot of memorable dance performances and events in 2008. Here are ten that I thought were outstanding.
1. PeepDance by Nimrod Freed’s Tami Dance Company: There’s nothing quite like a village of peepers in Central Park on a hot summer night.
PeepDance at Central Park SummerStage, photo by Evan
2. Hofesh Shechter’s Uprising at Fall For Dance: A fierce, intensely athletic piece for eight men depicting organized chaos. Watch the video by Article 19.
3. Cedar Lake Contemporary Ballet’s performance of Sunday, Again, choreographed by Jo Strømgren: One of the most exhilarating works of the year.
Cedar Lake dancers in Sunday, Again, photo by Carina Musk-Anderson
4. Damian Woetzel’s final performance at New York City Ballet: It was sad to see one of the company’s finest male dancers end his 23-year performing career.
Damian Woetzel in Prodigal Son, photo by Richard Corman
5. Participating in a Gaga workshop at the JCC Manhattan, led by a dancer from Batsheva Dance Company: This was an excellent introduction to Ohad Naharin’s movement language.
6. Lar Lubovitch Dance Company at City Center: The mysterious North Star, set to Philip Glass’s score of the same title, was particularly captivating.
7. Jo Strømgren’s The Society at Abrons Arts Center: A clever examination of ethnocentrism that starts as a battle between coffee and tea drinkers.
Jo Strømgren’s The Society, photo by Knut Bry
8. Christopher Wheeldon’s Liturgy, performed by Wendy Whelan and Albert Evans: Although this work premiered in 2003, last January was my first time seeing it. The hauntingly beautiful score by Arvo Pärt, Wheeldon’s mesmerizing movement, and Whelan’s ethereal dancing brought me to tears.
Wendy Whelan and Albert Evans in Christopher Wheeldon’s Liturgy, photo by Paul Kolnik
9. Going behind the scenes for Jill Johnson’s The Copier, performed by Cedar Lake: Following Jill and the dancers throughout the creative process was just as enjoyable as watching the final product.
Opening night of The Copier, photo by Gillian Crosson
Jill Johnson watching a rehearsal of The Copier, photo by Evan
10. David Alvarez’s performance in Billy Elliot: This kid can dance. He was in total command for the nearly 3-hour show.
David Alvarez in Billy Elliot, photo by Sara Krulwich
The Columbia Ballet Collaborative
December 28, 2008
Kimi Nikaidoh, a former dancer and current student at Columbia, leads a rehearsal of the Columbia Ballet Collaborative in Streng Studio at Barnard College, photo by Andrea Mohin
In the fall of 2007, several former professional dancers studying at Columbia University founded the Columbia Ballet Collaborative, a group that provides performing opportunities to ballet dancers on campus and choreographic opportunities to individuals in and outside of the college community. I attended their first informal showing in December 2007, held in one of Barnard College’s dance studios, and their second showing the following spring, and was impressed by the group’s professionalism, artistry, and organization. Since the majority of performance opportunities for Barnard and Columbia students are based in modern dance, CBC is a much-needed addition to campus. Fortunately, the Collaborative is expanding and will be performing at Miller Theatre in April 2009. Gia Kourlas followed the success of the group and spoke with some of the founders in a recent NY Times article. You can also watch a short Times video about the company.
And The Winner Is…
December 25, 2008
At the beginning of December, I wrote about Ovation TV’s month-long Battle of the Nutcrackers. For the second year in a row, Mark Morris’ The Hard Nut is the winner! In a recent NY Times article, Claudia La Rocco wrote about the competition and Mr. Morris’ fresh take on the familiar story, where “the alcohol flows freely, among the flying fists and sexual advances”. If you missed it during the voting period, don’t worry. The Hard Nut will be shown today during Ovation TV’s Nutcracker marathon along with the other five contestants. A whole 24 hours of The Nutcracker for your viewing pleasure…Check out Ovation TV’s full schedule.
Mark Morris’ The Hard Nut, photo by Susan Farley
Daniel Gwirtzman Dance Company in Timebomb
December 24, 2008
Daniel Gwirtzman Dance Company’s Timebomb
This past weekend, Daniel Gwirtzman Dance Company celebrated its 10th anniversary with the premiere of Timebomb at the Baryshnikov Arts Center. Chairs for the audience were set up in a circle around the perimeter of the large, high-ceilinged studio. In place of program notes or biographies of the four dancers, including Gwirtzman, the program had a list of things the audience could do while waiting for the show to start. Suggestions such as “decide not to think about your day”, “consider the seat holding your legs and your spine”, and “stop thinking about time” were a welcomed respite at the end of a busy day.
Timebomb, however, left me feeling confused about what Gwirtzman was trying to convey. The piece starts as a solo for him that morphs into a duet with the wonderfully intense Stacy Martorana, and then becomes a quartet with Rachel Warren and Oren Bar-Noy. The dancers eye each other as they shift about the space and interact with one another – sometimes violently, at other times more tenderly – but they never make eye contact with the audience. Only Martorana is believable, remaining completely focused and engaged throughout the piece while the others seem to be further detached and self-conscious about the fact that they are being watched. The percussive score by Shawn Balthazor and Jeff Story ranges from explosive to quietly hesitant, contributing to the dancers’ emotionally distinct interactions. Tension builds but is never resolved, creating a rather unsatisfying close to the piece. There are a few explosive moments in Timebomb, but the 50-minute piece loses its momentum and its ability to surprise.
Starting on January 10th, 2009, Daniel Gwirtzman Dance Company will launch its online Commentary and Clip Series, which will provide a behind-the-scenes look at the company through video clips and commentary from the dancers. Check it out.
Billy Elliot on Broadway
December 21, 2008
David Alvarez is “Billy Elliot”, photo by Sara Krulwich
Last week I saw the Broadway musical Billy Elliot, which arrived in New York City last month after debuting in London more than three years ago. Based on the 2000 movie directed by Stephen Daldry, who also directs the musical, Billy Elliot is not about dance, but rather about the urge to dance – and sadly, about the conflict between dreams and reality. The eleven-year-old title character, played by the talented David Alvarez on the night I attended, lives with his widowed father and older brother in a working-class Northern England town that is dealing with the 1984 coalminers’ strike. Although Billy is sent to boxing class with other local boys, he accidentally ends up in the girls’ ballet class, where the chain-smoking teacher Mrs. Wilkinson (superbly played by Haydn Gwynne) takes Billy under her wing and prepares him to audition for the Royal Ballet School after recognizing his potential.
The show spends equal amounts of time revealing Billy’s conflict with his father, who insists that his son only take boxing, and the miners’ conflict with the police and Prime Minister Margaret Thatcher. The opening number occurs on the eve of the miners’ strike, showing downtrodden men uniting and preparing for what’s to come (it was strikingly similar to the opening of Les Misérables), while the next scene shows Billy in his boxing class, and then in ballet with Mrs. Wilkinson and a flock of overly-enthusiastic girls in tutus. The two worlds collide in the excellent “Solidarity”, which combines the frustrations of the miners, the police, and the daily routine of Billy and the girls in ballet class. This was undoubtedly the most complex and enjoyable scene in the show.
David Alvarez and the ballet girls in Billy Elliot, photo by Sara Krulwich
Alvarez beautifully captures Billy’s urge to move, and throughout the nearly 3-hour show, he performs tap, ballet, jazz, and acrobatics with precision, spirit, and often mind-boggling speed, all choreographed by Peter Darling. Billy’s anxiety and frustration about his unfortunate circumstances and his father’s disapproval of ballet explode in “Angry Dance”, a tap number that closes the first half. And in “Electricity”, his love of dance and dreams of escaping reality shine through in spite of his inability to articulate – with words – how he feels when he moves.
With the exception of “Solidarity”, Elton John’s melodies and Lee Hall’s lyrics are not memorable, and at times the show attempts to wow the crowd in an over-the-top manner, like with “Expressing Yourself”, which includes giant-sized dresses that Michael, Billy’s flamboyant friend, likes to try on. The quiet, simple ending – embodying Billy’s mixed emotions about leaving home – was touching until the entire cast joined him for a flashy finale with everyone in tutus. Setting this aside, Billy Elliot successfully portrays contrasting dreams and reality, and the ways in which the well-developed characters struggle with them. For Billy, dance is not just a means of escape. It’s his true calling, and the duet for Billy and his older self (played by former New York City Ballet dancer Stephen Hanna) suggests that his dreams are not beyond his reach.
Pina Bausch’s “Bamboo Blues” at BAM
December 18, 2008
Dancers in Pina Bausch’s Bamboo Blues, photo by Ulli Weiss
Pina Bausch, the director and choreographer of Germany’s Tanztheater Wuppertal, has been fascinated by India for years, and conducted formal research there in 2006 with her company. Bamboo Blues, currently being presented at Brooklyn Academy of Music, is the result of her research. Although the 140-minute piece portrays fragments from Indian culture and daily life, it is not specifically about India, but rather continues Bausch’s exploration of the human experience. Sensual movement and images, combined with vignettes that depict a range of emotions, form a rich and visually stunning work for the fifteen men and women.
White curtains billow at the back of the stage throughout the piece, creating a gentle yet vibrant set. The dancers emerge unexpectedly to reveal a variety of scenes that are humorous, somber, violent, playful, or thoughtful. Several women, wearing long dresses of different colors, carefully fold white sheets; a man bathes with a bucket of soapy water while two other men are surrounded by smoke or steam (it’s hard to tell), which could be a steam bath or a smoky village; a man and woman rock gently on a bamboo bed while another woman sleeps on top of a man, covering him with her satin pink dress; a man in a tacky yellow dress states that the color yellow is bright and “a curry color”; a group of men are approached by a woman wearing an elephant’s head, but they carry on without noticing. Many of these scenes seem to reflect the changing pace of life in India – calm can shift to chaos in an instant, and vice versa. A woman wearing a blindfold is tossed about by several men, violently at times, even though she seems to be smiling and laughing. In the next moment, a man walks peacefully and calmly across the stage, balancing several branches on his head and arms. Bausch excels at portraying both the self-aware, meditative individual and the social, interactive person.
Shantala Shivalingappa in Bamboo Blues, photo by Ulli Weiss
Bamboo Blues includes classical and contemporary Indian music, and projections ranging from Bollywood images to a tropical forest to a traditional Indian dance. With the exception of a few Indian-inspired arm gestures (delicately articulated by Shantala Shivalingappa in a solo), the movement mainly reflects Bausch’s vocabulary. The dancers use their torsos, arms, and necks to thrash about – with the women often whipping their heads, creating a mesmerizing effect with their long hair – much more than their lower bodies. It is easier to distinguish the women from one another than the men, who often seem interchangeable or only present to assist or hinder the women. In fact, the piece depicts male aggression, which Bausch has addressed in other works as well. In one of the more chilling scenes, a woman removes her dress straps and a man violently smudges red paint across her chest as if slicing her neck. Interestingly, she allows him to continue doing this until another man scoops her up and carries her off stage.
The projections, costumes, and even the women’s flowing hair are integral to the work. It would not have the same dreamy, fluid quality without them. In the second half, the white curtains are projected onto the floor, creating an even lusher environment. A tropical forest is layered on top of this while a man moves another curtain back and forth across the stage. The effect is beautiful, allowing the audience to catch glimpses of a woman who appears to be dancing in the midst of the forest and curtains. Bamboo Blues is not a linear, plot-driven work. Rather, it offers myriad episodes – covering a broad array of emotions – that are the result of Bausch’s research in India. These, along with the images and imaginative set, create a striking and memorable addition to Bausch’s repertoire.
Bamboo Blues will be performed this Friday and Saturday at 7:30 PM. Order tickets online or call 718-636-4100.
Daniel Gwirtzman Dance Company Presents “Timebomb”
December 15, 2008
Daniel Gwirtzman Dance Company, a non-profit performing and teaching organization founded in 1998, will present the premiere of Timebomb at the Baryshnikov Arts Center to celebrate its 10th anniversary. The work for four dancers features choreography by Gwirtzman and an original score by Jeff Story and Shawn Baltazor. You can read more about the piece on the company’s website, but here’s an excerpt from the description:
“Finding inspiration from our lightning-quick, dense, technologically saturated culture, and its demands on the individual, Timebomb is an explosive meditation on the unpredictability of life and the impact of the unexpected.”
There will be a post-performance discussion after each show, providing the audience with an opportunity to meet the Company and discuss Timebomb.
Daniel Gwirtzman Dance Company – Timebomb
Tuesday, December 16th – Saturday, December 20th, 7 PM
Sunday, December 21st, 3 PM
Baryshnikov Arts Center
450 West 37th Street between 9th and 10th Avenues, NYC
Order tickets online.
Company dancers rehearsing Timebomb, photo by Kamil Dobrowolski
Misnomer Dance Theater: Being Together
December 14, 2008
Misnomer dancers in “Rock. Paper. Flock.”, photo by ShaLeigh Comerford
Misnomer Dance Theater’s Being Together, presented at the Joyce SoHo, consists of three independent pieces that each explores the idea of togetherness. But being with others, as it turns out, can still feel lonely. The struggle to connect with others was most apparent in “Too Late Tulip”, a mellow piece that portrays three women swiveling their hips to the pleasant sounds of a guitar. They never interact or make eye contact, but take turns observing – and admiring – a relationship between a man and woman.
“Rock. Paper. Flock.” strives to demonstrate the creative process. Dressed in a gray jump suit, goggles, and a pilot cap (his “choreographer’s hat”), artistic director and choreographer Chris Elam gives a variety of suggestions to the dancers, all of which seem to be disjointed. He says, “Everyone is Brynne”, “Do 52 fouettes upside down”, and “Dorian steals the cookies”, among other bizarre statements. The creative process is certainly different for every choreographer, but I wonder if this is an accurate portrayal of a studio rehearsal or experiment. Watching an open rehearsal at the company’s studio in Brooklyn would probably be more interesting.
Jennifer C. Harmer and Jenny Campbell in “Rock. Paper. Flock.”, photo by ShaLeigh Comerford
The final piece, “Zipper”, is a darker examination of the themes in “Too Late Tulip”. Set to an original score by Evan Ziporyn that was played by the Real Quiet ensemble (live the first week, and recorded the second week), the dancers’ hands twitch, their bodies form intricate knots, and they stare mysteriously into the audience. The movement ranges from primal to delicate. Whatever connections the dancers attempt to make with others are limited by their blank expressions and apparent detachment from their surroundings. Whether or not this is intentional is unknown, but it seems to hinder their ability to truly connect with – and appreciate – another person.
The final performance of Being Together at the Joyce SoHo will be broadcast live tonight at 8 PM EST, and will remain archived on Misnomer’s site until December 31, 2008.
Cedar Lake to Perform at Jacob’s Pillow
December 12, 2008
photo by Francois Rousseau, courtesy of Cedar Lake
Jacob’s Pillow has announced that Cedar Lake Contemporary Ballet will perform the world premiere of Belgian choreographer Sidi Larbi Cherkaoui’s Orbo Novo (“New World”) in July 2009 at the 77th Jacob’s Pillow Dance Festival. The evening-length work will include an original score by Polish composer Szymon Brzóska, which will be performed live for the performances.
Here’s an excerpt from the Pillow’s press release:
“Here we have a perfect confluence: a world premiere by one of the most important choreographers working anywhere today, performed by the especially brilliant dancers of Cedar Lake Contemporary Ballet, with a new original score by a young composer, performed live at the Pillow. It just doesn’t get any better than that,” comments Ella Baff, Executive Director of Jacob’s Pillow.
Commenting on his forthcoming collaboration with Cedar Lake, Cherkaoui asserts, “There is the excitement of working with a talented and relatively young American company pluckily exploring different styles of dance, which will be a novel experience after my years of working with Europe’s more established companies. It will be, for me, as much about learning as about creating – learning from the resolve of this company, from the spirit of this great city and also from the contradictions that drive it.”
Tickets will go on sale in April 2009. These performances will replace Cedar Lake’s spring season at their home in Chelsea, but their winter season (which I got a sneak preview of last month) is just a few weeks away. Don’t forget to order tickets!
Arts Advocate Bill Ivey on Obama’s Team
December 11, 2008
Shortly after President-elect Obama chose Rahm Emanuel as his White House Chief of Staff (causing a stir in the dance world since Emanuel studied ballet at the Joffrey and later at Sarah Lawrence College), Bill Ivey, former Chairman of the National Endowment for the Arts from 1998-2001, was named to Obama’s transition team for arts and culture. He will serve on the NEA/NEH review team. Like Emanuel, Ivey also served in the Clinton administration. He has a background in musicology and folklore, and is currently the founding director of the Curb Center for Art, Enterprise, and Public Policy at Vanderbilt University.
Ivey’s most recent book, Arts, Inc. (May 2008), has been on my reading list for a while. He argues that cultural rights are “the key to bringing public interest back into America’s creative life” and to enhancing Americans’ quality of life. Hopefully Ivey will put his words into action as a member of Obama’s transition team, ensuring that in the midst of an economic crisis the arts won’t get swept aside. According to Nashville councilman and arts advocate Ronnie Steine, Ivey is “the perfect fit for a national transition”.
