Lincoln Center Mitzi Newhouse Theater
New York City, New York
For anyone aware of Agnes de Mille's contribution to musical theater, Contact is hardly innovative. It's three short stories told with minimal dialogue, substituting dancing to music for conventional musicals' singing to music in order to move the plot along. Director/choreographer Susan Stroman, whose dances for Show Boat and Steel Pier garnered critical praise, is adept at shaping the familiar vocabulary of social dance to advance her narrative.
Contact has all the Broadway trappings: gliding sets on recessed tracks by Thomas Lynch, chic costumes by William Ivey Long, high-tech lighting by Peter Kaczorowski. But the charm of the show is watching the wonderful performers negotiate the intricate choreography, crammed onto the spatially-challenged thrust stage of Lincoln Center's Newhouse Theater. Abetted by John Weidman's succinct dialogue and some brilliant casting, Stroman has concocted a fast-moving entertainment that may elevate dance's role a notch in theatrical visibility.
The curtain-raiser, Part I: Swinging, is set in eighteenth-century France. Young woman (Stephanie Michels) on rustic swing flirts with beau (Seán Martin Hingston). Beau's manservant (Scott Taylor) keeps swing in constant motion, even whenin beau's momentary absencehe and lady have steamy sex on it.
Karen Ziemba is heartbreaking in Part II: Did You Move?, as a fifties housewife who stoically suffers husband's (Jason Antoon) verbal abuse in a Queens restaurant. Each time he exits to the buffet, she waltzes ecstatically around the tables, romancing the headwaiter (David MacGillivray), to Tchaikovsky's Eugene Onegin Waltz, and fantasizes about liberation from her husband's cruelty. When he catches her in one of these flights of fancy, a scuffle ensues, and she shoots him deadbut then he really returns with his manicotti. Ziemba realizes that her triumphal act of vengeance was only a dream within a dream, and her wonderfully expressive face crinkles into a grimace that embodies the desperation of the rest of her life with him.
In the most fully developed section, Part III: Contact, terrific actor Boyd Gaines, a prize-winning TV adman, contemplates suicide. His downstairs neighbor leaves him angry voice-mail messages about getting carpet to muffle his late-night pacing that's keeping her awake. After an apparently botched attempt to hang himself, he flees to an after-hours dance club where he meets the girl of his dreams, The Girl in the Yellow Dress (Broadway newcomer Deborah Yates). When he returns to reality, he finally meets his annoyed neighbor, who turns out to be her incarnation. He realizes what's been missing from his life, and they fox-trot into eternal bliss.
It's especially nice to see a cast of dancers who look and act like real characters, rather than the twenty-something Kens and Barbies who used to populate Broadway musical chorus lines. Let's hope the trend of hiring seasoned, mature, and physically diverse dancers is here to stay.
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.
Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.
But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.
Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.
Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.
Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.
Photo by Filip VanRoe, courtesy Marquee
Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).
But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.
When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.
When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.
The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.