The Best of London In Four Days
I was lucky to hit London town in time to see three amazing dance concerts, a rehearsal of a terrific cabaret act and two hallowed centers of dance.
First up was Woolf Works, Wayne McGregor’s new extravaganza for The Royal Ballet. Based on three of Virginia Woolf’s novels, it’s really an ode to Woolf, as well as an ode to the great dramatic ballerina Alessandra Ferri in the first and third sections. (For more about the ravishing Ferri in this work, click here.) The middle section is McGregor as we’ve come to know him: wild partnering, innovative lighting and extravagantly contemporary sets. He succeeded in producing a stark and startling ballet that challenges the dancers, and also succeeding in puzzling viewers who expected a linear plotline. Luckily, I had read Dance Magazine’s interview with him in which he says that a linear story is “not the only way you can deal with complex emotional situations or multiple narratives. I thought this was a good moment to flex the opera house’s muscles in a new way.” The pristinely beautiful Royal Opera House has probably been getting a good flex from McGregor since he made Chroma there in 2006.
I saw two Sadler’s Wells productions that were dead opposites, each satisfying in its own way: Partita 2 and Titanium. The first, a collaboration between Anne Teresa De Keersmaeker, Boris Charmatz and violinist Amandine Beyer, was dry in tone but completely involving. Without any shred of story to keep track of, I paid alert attention to Bach’s notes on the violin, the artfully deployed cracks of light and how inventively De Keersmaeker and Charmatz recycled their phrases and gestures.
The second, Titanium, was a boisterous production at the Peacock Theatre that melds hip-hop, flamenco and acrobatic break dancing. An all-male group from Spain, it included nine dancers and four musicians—though the musicians were sometimes drowned out by a cheesy sound design of amplified growls and reverse booming. The macho taunting and sparring eventually morphed into camaraderie, and finally into a display of technical fireworks like head spins and crazy fast heel work. The audience went wild, making me think this production could go the commercial route of Riverdance.
I was able to visit the Royal Ballet School and observe master teacher Anita Young’s loving yet strict instruction of a girls’ class. The training is very reverential, and they were asked to give this visitor (me) a formal reverence even before class started. At the barre, Young corrected the head positions, telling the girls that Sir Frederick Ashton always wanted a softly titled head, never a flat-out profile. In center, she emphasized musicality, femininity and movement quality. When doing tendues, she told them to use pressure through space, saying "It's not just dry bones." I also got to see a rehearsal of the advanced students in Christopher Wheeldon’s tricky Rush, which they had performed so well in NYC in a shared program with ABT’s Studio Company last month.
At The Place, London’s hub of contemporary dance, the director and choreographer Richard Alston along with chief executive Kenneth Olumuyiwa Tharp took me around to see some of the 11 studios, cafeteria and rehab room. Apparently it’s similar in training to NYU’s Tisch School of the Arts dance program. Alston’s excellent company is in residence there, so I was treated to a viewing of a rehearsal of his piece Nomadic, with gypsy music pulling the dancers into dynamic torso movement and joyous momentum. (See our “Choreography in Focus” with Alston here.)
One of the Joffrey Ballet’s star dancers of an earlier time and a beloved teacher at Steps on Broadway, Christian Holder now lives in London. He invited me to a run-through of his cabaret act, "At Home and Abroad." It was pure magic, and if any of you are in London June 5 and 6, I urge you to catch it at Crazy Coqs. Christian is a naturally theatrical creature, and his exuberant soul bursts through his singing, storytelling and bits of dance. Hearing about his life as a dancer/designer/choreographer is an education, and watching him reminisce is a lovely entertainment.
From top: Ferri and Bonelli in Woolf Works, by Tristram Kenton. Wendy Perron at The Place, by Kenneth Tharp.
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
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."