The Best Moments from Last Week's YAGP Gala
To hear the screaming throngs of teenagers, you might think this was a Beatles concert in 1964. But no, it's dance students from all over the world joining together for the Youth America Grand Prix's gala at Lincoln Center, excited to see some of the greatest stars in dance today. Their rafter-shaking enthusiasm was heartening to hear, as they will no doubt become the performers, teachers, donors and audiences of tomorrow.
Actually, every single dance was a "best moment." In the first half of the YAGP gala, dubbed the "Stars of Tomorrow," 11 young dancers from the United States, Argentina, Portugal, Czech Republic, Japan and China displayed their outsized talents in solo variations. The young audience responded to the astounding turns and jumps that kept coming and coming.
Tiler Peck and Zachary Catazaro in Wheeldon's "Carousel," all photos Siggul/VAM
But the audience also yelled for Act II: "Stars of Today," with fewer spectacular turns and jumps. When Tiler Peck (a 2016 Dance Magazine Award recipient) appeared onstage in Carousel, one knew instantly that we were in the presence of an artist. As she wound toward and away from her partner, YAGP alum Zachary Catazaro, every corpuscle of her body was expressive. Her head and upper body drifted and swayed beautifully with the Gershwin music, making Christopher Wheeldon's choreography look like it was spun from her heart. Catazaro was the perfect partner for the Carousel narrative—charismatic, a bit dangerous, a bit too close.
Brittany O'Connor and Paul Barris in their "Besame Mucho"
For a complete change of pace, ballroom champions Brittany O'Connor and Paul Barris (both of whom I have co-judged with at YAGP) dazzled with their tango-cum-ballet routine Besame Mucho. To accentuate her leggy versatility, O'Connor wore one ballroom shoe and one pointe shoe. To music played live by Delaney Harter on violin and William Healy on piano, Barris threw O'Connor into some breathtaking corkscrewing spirals.
Marcelo Gomes choreographed a fun solo with bursting leaps called Tous Les Jours II. Xander Parish, the noble Brit at the Mariinsky Ballet, had visa problems, so American Ballet Theatre's James Whiteside stepped in for Parish, learning it in one day. He gave the solo precision, energy, and a goofy sense of humor.
Skylar Brandt and Gabe Stone Shayer in Messerer's "Spring Waters"
Two YAGP alums who are now on the rise at ABT—Skylar Brandt and Gabe Stone Shayer—almost carried off the tricky Spring Waters perfectly. This is a Soviet-era warhorse choreographed by Asaf Messerer with heroic hurling and lifting—including that famous one-handed lift where the guy's arm looks like the stem of a statue. Brandt's reckless hurl was worthy of Plisetskaya, but the one-armed lift got off to a bad start. Brandt seemed to collapse as they prepared for it—but Shayer made a quick save and raised her high up anyway, just in time to rush triumphantly off stage left.
Evan McKie and Svetlana Lunkina in Dawson's "Swan Lake" pas de deux
Evan McKie, the National Ballet of Canada star (and member of Dance Magazine's Advisory Board) blew in backwards in David Dawson's tutu-less remake of the White Swan pas de deux. McKie (last seen in NYC in Wheeldon's Winter's Tale) and Svetlana Lunkina are relatively new stars of National Ballet of Canada, he hailing from the Stuttgart Ballet and she from the Bolshoi. This striking couple brought the complex choreography alive: McKie's open chest, poetic demeanor and breathing arms made this Siegfried as sensitive as his Odette.
David Parson's Caught, with its selective strobe light, is always mindblowing. Ian Spring of Parsons Dance sprang up over and over, creating the illusion he was running or walking on air.
Lucia Lacarra and Marlon Dino in Arpino's "Light Rain"
I always welcome seeing Light Rain (1981), by Gerald Arpino, because it reminds me of the Joffrey Ballet's heyday here in New York. The ballet limns the edges of tastefulness with its hippy-trippy seductive duet, emphasis on the pelvis. I love the tabla-like rhythmic music by Douglas Adamz and Russ Gauthier. Lucia Lacarra has the right kind of exquisite body for this exercise in eroticism-charged flexibility.
For a rousing finale, Tamara Rojo and Cesar Corrales (another YAGP alum) dazzled with gyroscopic turns and leaps in Le Corsaire. (Rojo returned the following night at the Julio Bocca tribute, to show her super-human balances in Don Quixote.)
The Grand Défilé, choreographed by Carlos dos Santos, Jr.
The Grand Défilé, that amazing annual parade of 300 dancers ages 9 to 19, filled the stage with clever patterns and bursts of virtuosity as arranged by the ingenious Carlos dos Santos, Jr.
Completing the first half was a tribute to director/choreographer/mentor Bruce Marks, who was recognized with a Lifetime Achievement Award. Nina Ananiashvili, with her usual charm and verve, introduced him, enumerating a few of his many accomplishments. She expressed personal gratitude for his uniting the Boston Ballet and Russian ballet stars in 1990, which gave her a rare opportunity to perform in the United States. Marks spoke about the artistry of dance. Then he raised his voice in defense of the National Endowment for the Arts, which is currently on the chopping block in the latest national budget proposal. He asked us all to stand with him in the effort to keep the NEA up and running and helping the arts. Long live the NEA and YAGP!
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."
Many people see dance and choreography as separate pursuits, or view choreography as a dance career's second act. For some dancers, however, performing and choreographing inform one another. "That's just the kind of choreographer I am. I feel things so deeply in my physicality. I have to do it to know it," says Jodi Melnick, who is a prolific performer of her own work. She also maintains an active practice as a performer for other choreographers: Throughout her career, she's worked with Trisha Brown, Twyla Tharp, Tere O'Connor and Donna Uchizono, to name a few.
Though a dual career can be fulfilling, simultaneously inhabiting the roles of dancer and choreographer requires focus, organization and a great deal of energy.