Wendy Perron’s Best of 2016
The following list is limited by where and when I was able to see dance.
New Choreography (World, U. S. and company premieres)
- Anne Teresa de Keersmaeker’s Vortex Temporum, at BAM’s Next Wave Festival. Her group Rosas accumulates a fierce momentum shared by the band Ictus, playing composer Gérard Grisey’s score emphasizing the transformation of pure sound. Chalk circles on the floor help you follow how the music and dance careen in intersecting orbits.
Vortex Temporum, photo by Robert Altman
- The Winter’s Tale by Christopher Wheeldon, co-commissioned by The Royal Ballet and National Ballet of Canada and performed at Lincoln Center Festival. Finally, a new story ballet that makes you care about the characters—and with a terrific new score by Joby Talbot. Clever storytelling about a monstrous jealousy, but ending in a measure of peace. (I discussed why I think this ballet will last.)
- Figure a Sea by Deborah Hay, at Peak Performances in Montclair, NJ. Originally made for Sweden’s Cullberg Ballet, it sets out an expanse of constant change among 20 intermingling dancers, like a nighttime sky with stars that twinkle here and there. When you catch a falling star, you don’t know where it started from.
- Murmuration by Edwaard Liang, with music by Ezio Bosso, company premiere for BalletMet in Columbus, OH and originally made for Houston Ballet in 2012. Inspired by the astonishing patterns created by starling migrations, this ballet has sweeping group sections, inventive duets, and a cumulative power. It deserved the standing ovation.
- Catacomb by Beth Gill at The Chocolate Factory. Flesh moving over flesh with intentional stillness—or the illusion of stillness, or at least stubbornly unending patience. With music by Jon Moniaci and lighting by Thomas Dunn, Catacomb immerses us in a spare, slow and unpredictable world. There is something deathly about it—I mean besides the title—and yet very much alive.
Beth Gill's Catacomb, photo by Brian Rogers
- Badke at Live Ideas Festival, “MENA/Future – Cultural Transformations in the Middle East North Africa Region,” at New York Live Arts. Choreographed by Koen Augustijnen, Rosalba Torres Guerrero and Hildegard De Vuyst of Les Ballets C de la B in collaboration with a group of young Palestinians of different backgrounds. Rough, raw and giddy, sometimes coalescing into warm folk dance, then breaking up into mayhem. Part celebration, part resistance, this piece has the fierceness of early Wim Vandekeybus.
- Monchichi, by Wang Ramirez, the duo consisting of Korean-German Honji Wang and French-Spanish Sébastien Ramirez. The piece, performed at BAM's Next Wave Festival, was a nifty mix of hip-hop, martial arts, a Beckettian tree, a platinum wig and some crazy daring maneuvers.
Monchichi, with Wang and Ramierez, photo by Julieta Cervantes
- Analogy/Dora: Tramontane, commissioned by Peak Performances, with the NYC premiere at the Joyce. The Bill T. Jones/Arnie Zane Company combines the stories of Holocaust survivor Dora Amelan with Jones’ signature shape-shifting. The dancers recite the story of her escape with great sensitivity, avoiding sentimentality. Bjorn Amelan (Dora’s son) contributes flats and boxes that keep the story moving. Jones has made a work of art from genocide, and that’s quite an accomplishment.
- Faye Driscoll's Thank You for Coming: Play, at BAM’s Next Wave Festival. (She was on my 2014 list, too). Driscoll’s six dancers tap into their inner crazy selves—wailing, lamenting, misbehaving—but there’s a rigor underneath it all. And there was a special element of audience involvement.
- Walking Mad, a company premiere for Alvin Ailey American Dance Theater by Johan Inger, set to music by Maurice Ravel and Arvo Pärt. A man meets a woman hanging out her laundry, and a surreal dream tumbles onto the stage. A giddy romp with ingenious use of a big wall and doors. Invigorating and fun.
Walking Mad, with Rachael McLaren and Chalvar Monteiro, photo © Paul Kolnik
- Crystal Pite’s Solo Echo, seen by both Ballet BC at the Joyce and Hubbard Street Dance Chicago at Jacob’s Pillow. A scattered and dark first half yields to a poignant second half that expresses an infinitely tender sense of loss.
- Tristesse by Marcelo Gomes, set to Chopin, performed at the Ardani 25 Dance Gala at NY City Center. A playful quartet for men turns from show-off-y to stormy to sad, all supported by a wonderful camaraderie.
- Nora Chipaumire's portrait of myself as my father, at BAM Fishman Space. She takes on a boisterous, humiliated black manhood, imagining what her father endured in Zimbabwe. The snarling and swaggering give way to compassion, but along the way we are alarmed as much as entertained.
This was a great year for choreography on Broadway. Some musicals featured full-out, space-eating choreography: Hofesh Shechter for Fiddler on the Roof; Sergio Trujillo for On Your Feet!; Savion Glover for Shuffle Along; and Andy Blankenbuehler for Hamilton. Others depended on functional movement that enhanced the story: Sergio Trujillo for A Bronx Tale (for more on Trujillo, see his "Choreography in Focus."); Lorin Latarro for Waitress, Spencer Liff for Spring Awakening; Kathleen Marshall for In Transit.
- Craig Wasserman of Pennsylvania Ballet at the Joyce. A dream of a dancer who is compelling when simply lifting an arm. He’s an ardent partner, making you believe he really loves the one he’s with. Trey McIntyre gave him a knock-out solo in The Accidental that I’d love to see again.
- New York City Ballet’s Taylor Stanley in both Ratmansky’s Pictures at an Exhibition and Justin Peck’s Everywhere We Go: Windblown, bursting with energy, joy and freedom.
- Jonathan Porretta of Pacific Northwest Ballet in Balanchine’s Prodigal Son at New York City Center: Bold, kinetic, larger than life, itching to break free.
- Doron Perk, wild and lanky, was a fresh, arresting presence in Zvi Gotheiner’s On the Road at BAM.
Doron Perk in On the Road, photo by Ian Douglas
- The octogenarian Valda Setterfield as King Lear in John Scott’s Lear at NY Live Arts. Elegant, stoic, veiled emotion, speaking and moving from the gut. An excellent portrayal of a creeping bewilderment.
- Aaron Mattocks in Big Dance: Short Form, a mixed bill from Big Dance Theater at The Kitchen. Fierce and inventive in Short Ride Out, archly flamboyant and supercilious as Samuel Pepys in the 17th-century Art of Dancing while keeping each movement crystal clear.
- National Ballet of Canada’s Xiao Nan Yu as Paulina in Wheeldon’s The Winter’s Tale. Every move speaks of caring and compassion as well as beautiful ballet lines. She carries the wisdom of the story in her body.
- Skylar Brandt as the Golden Cockerel in the new ABT ballet of the same name by Alexei Ratmansky. If anyone can kill a king in a single, swoop-down peck, it’s Skylar Brandt.
- Most romantic onstage couple: Alessandra Ferri and Herman Cornejo. They appeared together in ABT’s Romeo and Juliet—her comeback as Juliet, bringing ecstatic fans (I was one of them) to the Metropolitan Opera House. If I’m not mistaken, she stole an unplanned kiss in the ballroom scene. They paired again in Wayne McGregor’s new Witness, commissioned by Fall for Dance. Here they were less fevered but still with great chemistry.
- Logan Pachciarz. A magnetic presence at Kansas City Ballet. I caught him in his last performance with the company at the Kauffman Center in Kansas City. In Helen Pickett’s Petal, you could discern a sly sense of humor just beneath the strong, clean dancing.
- NYCB soloist Ashley Laracey: Quicksilver in petit allegro, luscious in slow steps, she shone in Tory Schumacher’s new Common Ground and Peter Martins’ Ash. (She was an “On the Rise” in 2012.)
- As the first to walk on, Darrin Wright sets the pace and purpose of Jane Comfort’s You Are Here, presented by American Dance Institute at The Kitchen. Near the end, he improvises a juicy, softly desperate solo.
- Ailey’s Matthew Rushing in Ron Brown’s Ife / My Heart, at Fall for Dance at NY City Center. Wearing white, his whole body shimmers with devoutness.
- Josie G. Sadan in Brenda Way and KT Nelson’s epic boulders and bone at UCLA’s Royce Hall. Commanding, sharp coordination and stamina.
- Brandon Washington in Thank You for Coming: PLay (see above). His tantrum (“Where is my mom?”) catches at the heart: it is simultaneously heart-rending and funny.
Brandon Washington, left (Sean Donovan, right) in Thank You For Coming: Play, photo by Julieta Cervantes
- Best longterm series: Platform 2016: A Body in Places, in which Eiko Otake explored partnerships with other dancers and with the environment of the Lower East Side. She’s a portable, poetic requiem wherever she goes. Witnessing a performance of hers is an experience you don't easily forget.
Eiko Otake on sidewalk, photo by Ian Douglas
- Lighting design: Lenore Doxsee made a light into a sculptural element of John Jasperse’s Remains, a collage of art moments, at BAM. The reflections of a pearly dress makes the floor shimmer like a treasure chest. A horizontal beam suddenly takes on a saturated red, dividing the space into warm and cool.
- Best unearthing: Russian filmmaker Alla Kovgan discovered an old reel of a 1958 Merce Cunningham performance in the storage bins of Norddeutscher Rundfunk Studio in Hamburg. The archival film includes Changeling (1957) and excerpts from Suite for Two and Springweather and People, making it possible for former Cunningham dancer Jean Freebury to reconstruct Changeling and Springweather at Baryshnikov Arts Center.
- Best socially conscious soundtrack: Kyle Abraham's Untitled America for Alvin Ailey American Dance Theater has us listening to the voices of people who have been incarcerated or relatives of inmates. We know from statistics that America puts an inordinate number of black men behind bars. Abraham brought this tragedy into the theater. Laura Mvula's song "Father Father" had everyone in tears.
These days, it's not uncommon to see men dancing on pointe. Sure, the Trocks have been doing it forever, but now even men in traditional companies are seeing the benefits of training in pointe shoes.
And yet, we've never seen anything like this video of Houston Ballet's Hayden Stark, Derek Dunn and Daniel Durrett performing the "Shades" variations from La Bayadere on pointe. It's not a parody video or a spoof. These boys' pointework is the real deal, and we're all for it.
Your gut is a hot topic in nutrition right now. Experts say a healthy microbiome (the makeup of bacteria in our bodies) is associated with everything from a reduced risk of infection to a more efficient metabolism.
But can we actually make our inner bacterial population healthier?
For Dance Magazine's 90th anniversary issue, we wanted to celebrate the movers, shakers and changemakers who are having the biggest impact on our field right now. There were so many to choose from! But with the help of dozens of writers, artists and administrators working in dance, the Dance Magazine staff whittled the list down to those we felt are making the most difference right now.
Click through the links below to find out why they made our list.
With the first round of dancer duels complete, Jennifer Lopez and the World of Dance judges are bringing in some extra help as the competition thickens. American Ballet Theatre principal and all around dance superstar Misty Copeland will be the show's first guest judge for the July 18th and July 25th episodes.
It's our 90th anniversary! To celebrate, 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.
We had a feeling that our ambitious list of "The Most Influential People in Dance Today" in celebration of Dance Magazine's 90th anniversary would turn some heads. But it's gotten even more attention than we'd expected.
It's not often that a magazine compilation of "movers and shakers" can be celebrated in the literal sense. But when the publication is Dance Magazine, that is of course the case.
The story mentions Dance Magazine's 1927 beginnings under the name The American Dancer, and highlights how our July issue tackled the idea of "influence" from many angles.
Thank you Adweek for the shoutout and the happy anniversary wishes!
On July 1 and 2, San Francisco audiences will encounter a performance that's an unsettling kick to our assumptions. Stephan Koplowitz has created Occupy, A site-specific journey through an urban garden to be performed by AXIS Dance Company at the Yerba Buena Gardens. This is a dance about inclusion.
As soon as we started putting together a list of the most influential people in dance today, we knew two things. By the very nature of the topic we were tackling, our final list was going to be:
1. Entirely subjective, and
2. By no means comprehensive.
We wanted to get your input and hear who else you felt should be on the list. So we asked you who we missed, and here's what you told us through email, Facebook and Twitter: