Avi Scher & Dancers’ New York Debut
April 6, 2010
Marcelo Gomes and Ashley Bouder in Avi Scher’s Utopia, photo by Matthew Murphy
On Saturday evening, Avi Scher & Dancers made its New York debut at the intimate Alvin Ailey Citigroup Theater. Formed in 2008, the company performed six works by choreographer and founder Avichai Scher – a remarkable number for such a young group. Even more unusual was the star-studded lineup of dancers, including American Ballet Theatre’s Marcelo Gomes and Veronika Part, and New York City Ballet’s Ashley Bouder (a last-minute substitute for Sara Mearns), Savannah Lowery, Abi Stafford, Ralph Ippolito, and Christian Tworzyanski. Although the program lacked an authoritative choreographic voice – the pieces covered a wide range of moods and styles without being unified in any way – watching these dancers up close was a rare treat. Scher is lucky to work with such talented performers, and he shows great potential as a choreographer.
No Matter What explored community and alienation to the delicate sounds of Aphex Twin and Adam Lewis. The seven melancholy dancers moved through formal formations that were dotted with intricate footwork and gestural language. Similar movement was evident in Touch, which included a duet for Veronika Part and Arron Scott followed by an unrelated but absorbing trio for Ralph Ippolito, Savannah Lowery, and Eric Tamm.
Ralph Ippolito, Savannah Lowery, and Eric Tamm in Touch, photo by Matthew Murphy
Little Stories, a series of three duets set to music by pop singer Jason Mraz, never reached beyond cute or cliché. The first playful duet lead to one with more romantic potential, and the third duet – danced powerfully by Savannah Lowery and Christian Tworzyanski – was outrageously aggressive and angsty as the dancers ripped off their shirts. Unfortunately, Scher relied too heavily on Mraz’s cloyingly sentimental songs to tell the story. Mystery in the Wind was similarly cliché-heavy with music from the soundtrack of Chocolat, but Marcelo Gomes was mesmerizing amid the dark, moody atmosphere and Veronika Part was beautifully expressive (as was Abi Stafford in the ballet’s trio).
Marcelo Gomes and Veronika Part in Mystery in the Wind, photo by Matthew Murphy
The most memorable piece on the program was Utopia, a premiere for Ashley Bouder and Gomes, with music by Rachmaninov (played live by Melony Fader) and costumes by New York City Ballet’s Janie Taylor. Structurally, the work was similar to Jerome Robbins’ Other Dances, which is also a duet with a pianist on stage, though Utopia had a bit more playfulness and pizzazz, and a lovely whirling quality. Bouder worked her magic, balancing charm and remarkable attack, while Gomes offered lyricism and grace. This wasn’t the first time that Bouder was an impromptu replacement in a principal role (she learned the title role of Firebird in a few hours while still in City Ballet’s corps de ballet), but she seemed relaxed and completely comfortable with the movement. Furthermore, she has a unique way of using her breath (enjoyably audible in this intimate venue) that adds buoyancy and power to her dancing. Together, Bouder and Gomes looked dynamite, and they were fortunate to perform the most choreographically intriguing work of the evening.
Sadly, the program ended on a sour note with the premiere of Inner Voices, featuring syrupy lyrics sung by Genevieve Labean, who also performed in the piece. While the sweet, one-dimensional innocence in this work was evident elsewhere throughout the evening, the company’s debut also illustrated textured movement and maturity that is far more appealing and interesting. The program suffered because of the tension between the two, without firmly rooting itself in one or the other. As Scher continues to grow as a choreographer – and he undoubtedly will – hopefully he will gain clarity about what he wants his dances to convey to his audience, not only as individual works, but also as an overall reflection of his personal and choreographic explorations.
New York City Ballet’s Short Stories
January 19, 2010
Ashley Bouder in George Balanchine’s Firebird, photo by Paul Kolnik
New York City Ballet’s winter season includes many full-length narrative ballets, but on Saturday evening, the company performed a triple bill of short stories. Although the newest one, Firebird, premiered in 1949, the ballets told timeless stories: three sailors on shore leave in New York City, bickering over two women; the biblical story of the prodigal son who sins and begs for forgiveness; and a fairy tale in which a brave bird comes to the aid of a prince and his community. Not only have the stories endured, but so have the sets, costumes, and George Balanchine and Jerome Robbins’ choreography, which brought these simple stories to life.
There are no suitable words to describe Ashley Bouder’s performance in Firebird. The magic that she brought to the role in 2000 while still in the corps, when she stepped in at the last moment for an injured dancer, was still present. Flitting frantically to escape the prince’s hold, Bouder embodied the firebird’s vulnerability. Even slight gasps were audible as she yearned for release. Her beautifully arched back, sharp arm flaps, and knowing gaze – one that suggested that this little bird had been in harm’s way many times before – lent themselves perfectly to the role of the firebird. Yet, she was not only a victim, but also a heroine, for she rescued the prince (performed by Jonathan Stafford, who reflected the slight naiveté and clumsiness of a young hunter wandering alone in a forest) and princesses from the attack of fantastical creatures by offering one of her magical feathers to the prince. Marc Chagall’s shimmering sets and costumes emphasized the story’s mythical qualities while providing lush colors, and Stravinsky’s score – his first for a ballet – added depth and drama. A golden glow was cast on Bouder throughout much of her performance, but even without this enhancement, she was truly radiant.
Maria Kowroski in Balanchine's "Prodigal Son", with Damian Woetzel, photo by Paul Kolnik
In the title role of Balanchine’s Prodigal Son, Joaquin De Luz embodied the youthful enthusiasm that this character requires, and later the exhaustion and desperation when the prodigal son falls at his father’s feet and begs for forgiveness. Maria Kowroski drew upon the alluring sections of Prokofiev’s score to convey a seductive, deceptive Siren. She was shaky throughout some of the partnering with De Luz, but still managed to illustrate the Siren’s power over the prodigal son. Just as a pack of creatures enchanted the prince and princesses in Firebird, a freakish clan of bald, drunk men misled the son and his servants. Their stomping and menacing stares were nightmarish yet unforgettable.
In Jerome Robbins’ 1944 ballet Fancy Free, Tyler Angle, Robert Fairchild, and Daniel Ulbricht all had just the right combination of charm and cockiness to portray three sailors on shore leave in New York City. They managed to sweep two women (Tiler Peck and Georgina Pazcoguin) off their feet in one moment, and exasperate them with their immaturity and macho competitiveness in the next. Leonard Bernstein’s vivid, jazzy score provided many opportunities for suspended moments and textured footwork. The three men drew upon these occasions in their solos – especially Robert Fairchild in the hip-swiveling “samba solo” – as did Peck and Angle in their flowing duet. Ronald Bates’ lighting evoked the lazy, laid-back feeling that comes from summer heat, while Kermit Love’s costumes and Oliver Smith’s set designs contributed rich color to the work.
In the midst of a season filled with full-length classics – A Midsummer Night’s Dream just concluded, Romeo + Juliet is currently being performed, and The Sleeping Beauty is up next – it was thoroughly enjoyable to watch City Ballet perform three short story gems.
Daniel Ulbricht in Jerome Robbins’ Fancy Free, photo by Paul Kolnik
New York City Ballet’s Tribute to Nureyev
February 5, 2009
NYCB dancers in Douglas Lee’s Lifecasting, photo by Paul Kolnik
George Balanchine is a lucky man. Every year he receives a new ballet on his birthday, January 22, from New York City Ballet. This year, the company not only honored Mr. B. on its “New Combinations” program, but also launched the Rudolf Nureyev Fund for Emerging Choreographers with a matching grant from the Rudolf Nureyev Dance Foundation. Nureyev never danced with NYCB; in fact, Balanchine told him, “You do not know how to dance the way we dance in our company.” However, Nureyev performed Balanchine works elsewhere, as the audience saw in some video clips before Tuesday evening’s performance. The program included works by choreographers from Russia, England, and France – the three countries most closely associated with Nureyev’s career.
The pas de deux from August Bournonville’s Flower Festival in Genzano was a pleasant opening to the performance. Abi Stafford and Gonzalo Garcia moved smoothly through the variations. They are both modest dancers, and their breezy movement quality lent itself well to Bournonville’s combinations of jumps and turns. The other pas de deux on the program, from Christopher Wheeldon’s After the Rain, was suspended between heaven and earth. To Arvo Pärt’s Spiegel im Spiegel for a solo piano and violin, Wendy Whelan and Sébastien Marcovici moved seamlessly and tenderly, luxuriating in each drawn-out moment. Her ethereality and his grounded quality balanced one another. Watching this heart-achingly beautiful movement made me forget that I was watching ballet in a large, indoor theater.
Balanchine’s birthday present this year was Lifecasting by Douglas Lee, a British choreographer and principal dancer with Stuttgart Ballet. After just one viewing, this ballet left me puzzled. It felt reminiscent of other angst-filled ballets with edgy movement and minimalist music (this piece was set to Steve Reich and Ryoji Ikeda), but was still intriguing and certainly deserves another viewing. A cluster of suspended stage lights and sleek, gold costumes created a desolate, eerie world controlled by the dancers. Robert Fairchild was explosive in his opening solo as he curved his spine and rapidly spun his arms, and Ashley Bouder approached every movement with ferocity. The series of duets, solos, and ensemble work never fully cohered, and sometimes there was so much occurring simultaneously that I had trouble taking it all in. This performance of Lifecasting did not particularly speak to me, but another one (or two or three) probably will.
Angelin Preljocaj’s La Stravaganza (photo at left by Paul Kolnik) had the opposite effect. It said too much too clearly, without allowing for any mystery. Yet, the concept was imaginative and the dancing was riveting. Six people dressed in modern-day clothing danced briskly to Vivaldi, but as a black curtain rose at the back of the stage to the sound of striking electronics, six dancers dressed in Renaissance attire appeared. Their stiffness and seriousness triggered curiosity from the modern-day dancers, and what began as tentative mingling developed into more ominous confrontations with violent undertones. Robert Fairchild, one of the “ancient” dancers, returned to his own world with Rachel Rutherford, a modern-day dancer. In the end, she re-entered her own world as an outsider, only observing from a distance. Preljocaj’s story of two worlds colliding is vivid and dramatic, but would have been just as effective – and more mysterious – without providing every detail.
The program closed with Balanchine’s Theme and Variations, set to Tchaikovsky Suite No. 3. This ballet is an exercise in classicism, with sparkly tutus, a court setting, and inventive choreography rooted in classical ballet technique. Tiler Peck and Joaquin De Luz are relaxed, effortless technicians who breezed through the trickiest pirouettes and jumps. They are also both very musical, which made their performance a joy to watch.
The three contemporary works sandwiched between two classical ballets created a diverse program. Balanchine would be proud to see such innovative choreographers – and talented dancers – at his birthday celebration.
New York City Ballet: Gala at SPAC
July 21, 2008
Saturday’s Gala at the Saratoga Performing Arts Center had a relaxed, laid-back feel that matched the hot, humid evening, but the outdoor setting and sticky weather didn’t stop the crowds from dressing up for the occasion. Nor was the event lacking in star power: Rita Moreno, who played “Anita” in the film version of West Side Story, was the honorary chairperson. Ballet Master in Chief Peter Martins gave her a warm welcome, and then she happily shared an anecdote from her WSS audition: apparently, she nailed the acting and singing parts, but was quite rusty on the dancing.
Rita Moreno in the film version of West Side Story, photographer unknown
The program featured three of Robbins’ most unique ballets, and with contrasting themes, music, and choreography, they captured the diversity of his repertoire. Regal and classic best describe the opening of Brahms/Handel, which Robbins co-choreographed with Twyla Tharp in 1984 to Brahms’ “Variations and Fugue on a Theme by Handel”, but it quickly shifts gears and becomes distinctly Tharpish. In fact, Tharp’s contributions to the piece are more noticeable than Robbins’, even though they supposedly split up the work, with Robbins choreographing for the dancers in blue and Tharp choreographing for the green team (the blue and green dancers really do become competitive teams as the ballet progresses). Perhaps the piece is more strikingly Tharpish because she took more risks with the dancers – for example, women carried overhead or upside down across the stage, or tossed from one group of men to another – while Robbins was working in a more classical framework, with the opening of the ballet showing his blue dancers in a symmetrical arrangement, all in fifth position. So why would such a Tharp-dominated ballet be included in the all-Robbins Gala? I think Brahms/Handel indicates Robbins’ willingness to collaborate and open himself up to fresh choreographic ideas, particularly since he and Tharp worked on this piece the year after George Balanchine died. And although the blue and green teams are distinctly separate at first, they eventually meld together, indicating a unification of Tharp and Robbins’ ideas.
Sara Mearns and Jared Angle, the principals in green, performed a pas de deux that was initially dramatic but became playful and flirtatious later on. The most memorable moment occurred as Mr. Angle sliced his arm across Ms. Mearns’ neck as she leaned backwards, as if he were chopping off her head. It was one of those bizarre Tharp moments that I won’t even attempt to put into context, since moments later the two looked joyful and clapped their hands overhead. The dancers shined in their roles, with Ms. Mearns looking particularly radiant. Ashley Bouder as the principal in blue showed off her pure technique and sustained balances, and later was more flirtatious as she flew through lightning-quick footwork. Adrian Danchig-Waring, Tiler Peck, and David Prottas stood out among the soloists for the vibrancy they lent to their performances.
Wendy Whelan in costume for Opus 19/The Dreamer, Dance Magazine 2003, by Josef Astor
Just before the second piece on the program started, I spotted some lightning in the distance, and the air had reached an almost unbearable stillness that comes with summer heat waves. I was prepared for a thunderstorm, which probably would have enhanced the haunted qualities of Opus 19/The Dreamer, but the theater remained silent throughout the piece. Gonzalo Garcia, as the dreamer, appeared meditative and detached from the corps of twelve dancers in dark blue. He repeatedly spun around with his head tilted to one side and his eyes closed, conveying his desperate search for something beyond his community. He was mesmerized by Wendy Whelan as she mysteriously emerged from a cluster of dancers, and in their pas de deux, there were contrasting moments of calm and chaos that reflected changes in Prokofiev’s mysterious “Violin Concerto No. 1 in D Major”. Garcia and Whelan moved seamlessly from sharp, wild movement to airy, flowing delicateness. In the past, I always believed that the dreamer follows the woman into her world, but this time, there were instances where Garcia seemed to sweep Whelan into his own world, literally spinning her into his arms. This speaks to the range and depth of their performances. Both dancers were utterly captivating and other-worldly. I never tire of watching Opus 19/The Dreamer, especially when it is performed by such gifted dancers.
NYCB dancers in West Side Story Suite, photo by Paul Kolnik
During the second intermission, the woman sitting in front of me remarked that she didn’t know anything about the choreography for West Side Story Suite, the final piece on the program, but she was happy to at least know the story line and some of Leonard Bernstein’s melodies and Stephen Sondheim’s lyrics. This was probably the case for many audience members. Presenting a more dance-centered version of Robbins’ 1957 musical was an appropriate way to end the performance, providing the audience with top-quality dancing to accompany the familiar story. Although there are individual roles in this piece for “Anita”, “Riff”, “Bernardo”, “Tony”, and “Maria” (whose role is the least memorable), it is the ensemble dancing that stands out and best captures Robbins’ talent for choreographing on large groups. There is nothing quite like the sheer energy and competition between the Jets and Sharks when they dance the mambo in “Dance at the Gym”. The brightly colored costumes – yellows and blues for the Jets, and deep reds and purples for the Sharks – designed by Irene Sharaff contribute to the distinctions between the two gangs. Benjamin Millepied danced energetically as “Tony”, but he needed to convey more hopelessness and frustration over his doomed love. Georgina Pazcoguin was unstoppable as “Anita”, but she overdid the singing in America and the result was strained. In fact, even the singing from the professionals, who stand on the side of the stage, was flat. However, Andrew Veyette, who played “Riff”, sounded impressive in Cool, which features some of the most rhythmically interesting choreography for the Jets. Adrian Danchig-Waring and Austin Laurent were particularly eye-catching. After an entire season of continually being wowed by their performances, I wonder why these two dancers are still in the corps.
The Gala ended with a colorful display of fireworks and dancing on the lawn. The large amphitheater wasn’t completely sold out, but I was happy to see that it was mostly filled. Hopefully such a superb and thoroughly enjoyable performance of some of Robbins’ best ballets convinced the audience to continue supporting NYCB’s summer residency at SPAC.
A view of the SPAC amphitheater from the lawn, photo by Evan
New York City Ballet: Damian Woetzel’s Farewell
June 19, 2008
A curtain call for Damian Woetzel (click to enlarge)
Photo by Evan – Please do not use without permission.
Watching one of my favorite ballet dancers – who I’ve watched for about fifteen years – dance his final performance and take his final bow at the New York State Theater last night was not easy. Writing about it is even more challenging. Damian Woetzel, a member of New York City Ballet since 1985, bid farewell to the company and a sold out theater of fans. The evening was tremendous – emotionally overwhelming and momentous. Being a part of Damian’s final performance was definitely a memorable experience.
Sometimes it is impossible to describe why a particular dancer stands out from the rest. His or her “it” factor cannot always be put into words. This isn’t the case with Damian. His many “it” factors include a winning stage presence, effortless technique (in a recent Playbill article by Astrida Woods he said, “Who wants to go to the ballet and see effort?”), and his ability to embody the American Man, which was particularly noticeable in the program’s opening ballet, Jerome Robbins’ Fancy Free. I wrote about his performance as the “rumba sailor” last January, but watching Damian tonight was even more meaningful because the piece was prefaced by a film clip of him rehearsing the ballet with Robbins. The two men reviewed how Damian should throw his arms overhead at the beginning of his solo, with Robbins talking him through it and occasionally adjusting his arms and back. I can only imagine that soon Damian will coach a rising dancer in this role, as well.
Damian Woetzel in Robbins’ Fancy Free, photo by Paul Kolnik
The Playbill indicated that Balanchine’s “Rubies” from Jewels, second on the program, would feature Teresa Reichlen, Ashley Bouder, and Joaquin De Luz, allowing Damian to have a break after Fancy Free. But the audience was surprised and thrilled to see him suddenly appear in the third part of the ballet along with Yvonne Borree. He looked carefree and delighted as he jogged around the stage to Stravinsky’s Capriccio for Piano and Orchestra. His pas de deux with Yvonne was superb, and her dancing was much stronger and bolder than it has been in the past. Perhaps she felt more secure being partnered by one of the company’s best. The rest of the cast was also excellent. Teresa Reichlen flirted with the audience and truly engaged them in her jazzy solo, while Ashley Bouder and Joaquin De Luz approached their intricate partnering with attack and precision.
Ending a twenty-three year dancing career with Balanchine’s Prodigal Son is a daring task. The principal role is both emotionally and physically draining, not to mention depressing. But in an interview in NYCB’s Spring newsletter, Damian said that the role was “endlessly fulfilling”, and it also happens to be one of his most memorable. Thus, it was a fitting way to close the program. Each movement and gesture was more significant and weighted than usual, and there was a definite sense of finality to his performance. His physicality was astounding, and he beautifully captured the youthfulness of the Prodigal Son. Maria Kowroski was an intriguing Siren, and her pas de deux with Damian was passionate and intense. Watching Damian hobble across the stage at the end of the ballet to Prokofiev’s riveting score, stripped of everything he has, was overwhelmingly painful. He clearly infused the role with every ounce of energy in his body.
An NYCB poster of Damian Woetzel in costume for Prodigal Son, in front of Cathedral of St. John the Divine, photo by Richard Corman
There was endless applause and countless curtain calls at the close of the performance. All of Damian’s partners from the evening’s program presented him with bouquets, along with many other individuals including Christopher Wheeldon, Wendy Whelan, Ethan Stiefel, Susan Stroman, Miranda Weese, Kyra Nichols, Alexandra Ansanelli, and Jenifer Ringer (all of whom have worked with him throughout his career). The entire company eventually joined him on stage to applaud and say farewell. Confetti fell from the ceiling and flowers were thrown from all parts of the audience. Damian graciously acknowledged the orchestra, his fellow dancers, and the admiring spectators. He continually sighed and breathed in this significant moment in his career.
Over the years of watching Damian, I’ve noticed that after bowing in front of the curtain, he does a little shuffle and informal jump as he leaves the stage. It seems to be a signature part of his bow – perhaps a way of thanking the audience and showing how much he’s enjoyed dancing – and is something that I’ve always appreciated in the final moments of a performance. Tonight, he didn’t disappoint. After every single bow, Damian did his little shuffle and jump before disappearing behind the curtain.
For more photos and reviews of the performance, check out Philip’s and Sarah’s blogs. Photos below taken by Evan – please do not use without permission.
Damian Woetzel, smiling among a blur of people, flowers, and confetti
Damian Woetzel’s final bow
