2010 in Dance: A Look Back

Faye Driscoll's "There is so much mad in me", photo by Yi-Chun Wu

We’re days away from the end of 2010, so like in past years on this blog, I’m sharing what struck me as most memorable and impressive throughout the year.  Both new and old works performed in a variety of venues and settings made the list.  I hope that the older works mentioned here continue to make an impact and that the newer ones withstand the test of time.

I was blown away by Faye Driscoll’s There is so much mad in me at Dance Theater Workshop last April, and which I ended up revisiting this past September. The cast opened themselves up emotionally and physically to showcase extreme states of consciousness in a seamless series of vignettes.

Last February, Trisha Brown Dance Company performed at one of my favorite museums, the Dia: Beacon.  It was a fitting setting for Brown’s spiraling, sprawling works, in which her dancers tested the limits of gravity and used the museum as their playground.

George Balanchine's "Serenade", photo by Paul Kolnik

A New York City Ballet spring performance of George Balanchine’s Serenade, featuring Jenifer Ringer, Teresa Reichlen, and Sara Mearns, gave me chills.  Unforgettable.

At Dancespace Project, Kyle Abraham’s company performed The Radio Show.  The work explored communication and the role of radio during difficult times, while also featuring Abraham’s lush movement style.

Pina Bausch's "Vollmond", photo by Laurent Philippe

A little over one year after Pina Bausch’s death, her company Tanztheater Wuppertal returned to BAM to perform Vollmond (Full Moon).  The tons of water used for the performance stayed on stage, but even the audience felt drenched in shifting emotions, and often tears of mourning.

LEVYdance showed an interactive, thought-provoking work at Joyce SoHo called Everyone Intimate Alone Visibly.  It was my introduction to the choreographer Benjamin Levy, and I look forward to seeing more from him.

Benjamin Levy and Aline Wachsmuth in "Everyone Intimate Alone Visibly", photo by Andrea Basile

In France, Paris Opera Ballet performed a new version of Jiri Kylian’s Kaguyahime.  Original lighting, sets, choreography, and wonderful percussion music brought this ancient story to life.

I jumped at the chance to see Mikhail Baryshnikov perform at Baryshnikov Arts Center last May.  His poise and presence were mesmerizing.


Mikhail Baryshnikov in Benjamin Millepied's "Years Later", photo by Andrea Mohin

This entry was posted in Balanchine, ballet, BAM, criticism, Dance, Dance Theater Workshop, International, modern dance, New York City, New York City Ballet, Reviews, sara mearns, Teresa Reichlen and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , . Bookmark the permalink.

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