NYCB Brings Back Rare Favorites
Did you ever see a ballet so fascinating that you couldn't wait to see it again, only to realize it dropped out of that company's repertoire?
I've had this happen several times at New York City Ballet and found myself hungering and wondering: Where did that ballet go? When will I get a chance to see it again? Sometimes I feel like I have to wait years for it to come around again.
Sean Suozzi, Tiler Peck, Andrew Veyette and Megan LeCrone in Oltremare. Photo © Paul Kolnik
Well, this spring some of my favorite recent ballets are coming back, and it will be worth the wait. All of them were made after 1988, and some appeared only briefly before they disappeared from sight. So I am officially welcoming them back.
Here's the scoop: NYCB's fantastically ambitious Spring Season crams 50 ballets into six weeks, from April 18 to May 28. The middle four weeks are devoted to the Here/Now Festival and that's where we'll see some of these highly unusual ballets. The season also includes world premieres by (who else?) Justin Peck and Alexei Ratmansky. Those two plus Christopher Wheeldon will each have a whole program devoted to them. This is a rare tribute because a one-choreographer program is usually only accorded to the giants: Balanchine and Robbins.
The 22 choreographers and 43 ballets represented in Here/Now include Peter Martins, Pontus Lidberg and Annabelle Lopez Ochoa as well as newcomers like Robert Binet, Lauren Lovette and Myles Thatcher.
Now I'll cut to the chase—at least the chase of my personal faves. I tend to like ballets that take us off the beaten track:
- Mauro Bigonzetti's Oltremare (2008) transformed the stage into a place for immigrants to look for a home, love fiercely and fight fiercely. It gave Tiler Peck, Georgina Pazcoguin, Andrew Veyette and others a chance to hurl themselves at their partners in the most astonishing lifts. It's been out of the rep since 2009.
Sterling Hyltin and Joseph Gordon in Neverwhere, photo ©Paul Kolnik
- Every fall gala now matches up a choreographer with a fashion designer, and some of these commissions fade from memory pretty soon. But Benjamin Millepied's Neverwhere (2013) stood out as being daringly strange and super contemporary in its sculptural look. Dutch designer Iris van Herpen concocted layers of shiny black flakes that crackled when the dancers moved. Plus, she invented plastic pointe-shoe boots that made Sterling Hyltin's legs look like tentacles.
- Jorma Elo's Slice to Sharp—last seen in 2009—received an immediate standing ovation at its premiere in 2006. The dancers blazed through super complex moves punctuated with a voguing kind of flair. With its high-wattage density and speed, it's kinetically exhilarating in a way that no other NYCB choreography is.
- The oldest of all these ballets is the slinky Herman Schmerman (Pas de Deux) by William Forsythe (1992). A prototype of gender-bending for our age, it's been out of the rep for three years. I will be curious to see who can carry off the studied cool, the subtle irony and the highly stylized choreography that Wendy Whelan and Albert Evans brought to life.
Here are a couple of ballets we haven't had to wait long for, but I will be happy to see anyway:
- Pictures at an Exhibition (2014), Ratmansky's piece to Mussorgsky's famous music, did not have an overarching narrative, but each scene was evocative: the gnome, the old castle, the ballet of “unhatched chicks." It challenged dancers like Sara Mearns and Amar Ramasar to go beyond their emotional comfort zones. With a shifting backdrop of Kandinsky's Color Study: Squares with Concentric Circles, it showed how an abstract dance can be dramatically stirring.
Daniel Ulbricht, airborne, in Rodeo, photo © Paul Kolnik
- Justin Peck's Rodeo: Four Dance Episodes (2015) was deemed a hit right away. Part of the awe is that he took a super familiar piece of music, Aaron Copland's Rodeo, which was made for Agnes de Mille's landmark ballet of the same title, and completely re-envisioned it. Peck's version of Rodeo has energy, humor, masterful form and Daniel Ulbricht dashing across the stage to wake us up.
Sara Mearns, center, in Jeux, photo © Paul Kolnik
- In 2015, Danish choreographer Kim Brandstrup created a surreal version of Nijinsky's Jeux that projected an ominous feeling of danger. Sara Mearns, blindfolded and bewildered but up for a party game, finds herself entering a Kafkaesque realm of ambiguity while Adrian Danchig-Waring dribbles a basketball.
At City Ballet, Balanchine and Robbins are our old friends. The Here/Now Festival brings us new friends that we want to get to know better.
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.
That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.
La Folía, a short dance film by director Adam Grannick that was recently released online, echoes these sentiments in under 12 minutes.
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT
Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.