In last week’s all-Robbins program at New York City Ballet, we got a slice of his many terrific ballets, each one unique in its boldness. The triple bill at Lincoln Center included the beautifully crafted Glass Pieces; the intense—and intensely silent—Moves; and the hilarious romp The Concert (or, The Perils of Everybody).
Sterling Hyltin in Jerome Robbins' The Concert, photo © Paul Kolnik
It is this last one I want to talk about. Everything about The Concert is a delight, from the onstage pianist (played with delicious frumpiness by Elaine Chelton) to the guffaw-inducing “Mistake Waltz,” to the poignant umbrella scene.
The basic “plot” of this 1956 ballet is that various characters straggle in to listen to a concert pianist playing Chopin, and they are each in their own private world. Last week Sterling Hyltin played the starring role, the loopy lady with ballerina fantasies, to the hilt. Carried away by the beautiful music, she is the gateway to a string of brilliantly wacky episodes.
Hyltin in The Concert, photo © Paul Kolnik
The role was made for Tanaquil LeClercq, the glamorous French dancer who was married to Balanchine in the 50s. But it has also been done—with comedic flair—in different decades by Allegra Kent, Stephanie Saland and Maria Kowroski.
I asked Saland what she remembers about dancing this role when Robbins was still alive. (She was with NYCB from 1972 to 1993, the last nine years as principal, and is now a master teacher in Seattle.)
Stephanie Saland in an undated photo © Daniel Sorine
“He called it the mad ballerina role,” she said. “The comedic aspects only work when we do not play to the joke, but believe her thoroughly. It was so much fun, although Jerry was phenomenally particular about timing, especially with comedic work.”
While coaching her in the scene where she gets chased by the cigar-chomping, two-timing husband, Robbins told her to watch Maya Plisetskaya on video. He wanted Saland to capture that silent-movie style of drama, with big eyes and exaggerated gestures.
Her favorite scene was when her character tries on different hats. “Jerry was very precise about where you look and when you slump with disappointment. And when they put the ridiculous fluffy blue hat on you, you just know it’s right for you.” Saland says she actually started making her own hats after dancing the role.
Hyltin, on the other hand, says in this charming clip from NYCB that the hat-changing scene was the most difficult for her.
The Concert is widely recognized as the funniest ballet ever made. It’s been in the repertories of Pacific Northwest Ballet, Miami City Ballet, Paris Opera Ballet, Pennsylvania Ballet and more. Needless to say, it requires dancers who have a knack for comedy, and they are hard to come by. But when it clicks, everyone in the audience and onstage become deliriously happy.
"I don't cook for just one or two people," says James Whiteside, stirring a pot on his stove. "My mom taught me to cook and she had five kids. So when I do cook, I go in!"
Aside from breakfast (usually bacon, egg and cheese on an English muffin), the American Ballet Theatre principal rarely cooks for himself during ABT's seasons. He prefers to "forage" for his lunch and go out or order in for dinner, saving the real cooking for when he has friends or colleagues to feed. "I like to have a lot of people tell me my food is delicious," he quips.
We're not sure what we did to deserve the livestream generosity the dance world is giving us these days, but this weekend, it's getting even better.
PC Joe Toreno
L.A. Dance Project, Benjamin Milliepied's trendsetting contemporary troupe, has been in residence at The Chinati Foundation for the past few days. This weekend, they're showing us what they've come up with—for three days straight.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.
Restaurants have always been a great source of survival gigs for dancers. But today's top chefs aren't just looking for waiters to carry dishes to the table. They're hiring choreographers to give the staff dance-like skills and compose a sort of choreography for the dining room.
Leslie Scott, artistic director of dance theater company BODYART, is one of those choreographers. After working in more typical food industry jobs for 10 years, she's been tapped by top restaurants in both New York City and Los Angeles to lead workshops that finesse servers' non-verbal communication and navigation of tight spaces.
Back in 2002, dancer and choreographer Jonah Bokaer founded an art space in Brooklyn called Chez Bushwick. As Manhattan and Brooklyn were quickly becoming unaffordable, and many studio spaces were closing, Bokaer seized upon "creative placemaking"—the idea that the arts can play an integral role in community-building—before it became a buzzword. "We have been sustaining and maintaining one of the most affordable dance studios in New York State since the very beginning of my career," he says.
Fifteen years later, the challenges for choreographers in expensive urban centers continue unabated, and Bokaer has found his original mission magnified. While Chez Bushwick remains a haven for the next generation, there is also a growing number of young dancemakers who have been inspired to create their own residencies, communities and, ultimately, opportunities.
The New York City premiere of Alexei Ratmansky's sugary sweet story ballet, Whipped Cream, made for one of the most exciting spring galas at American Ballet Theatre yet. While we're usually in awe of the gowns the dancers sport on the red carpet beforehand, this time around, it was all about Whipped Cream's colorful and over-the-top costumes by Mark Ryden—and, okay, a few major dress moments, too. Ahead, check out what went on behind-the-scenes.