New York Notebook
The opening image of Trisha Brown’s Astral Converted is one of the most stunning of any postmodern piece. Are the silvery figures on the floor fish? Are they mechanics? Are they angels lined up in a row? In any case, each move they make is detected by motion sensors on Robert Rauschenberg’s industrial towers, thereby affecting John Cage’s music. Astral Converted (originally Astral Convertible) is now being revived, thanks to a residency on Governors Island through River to River that includes workshops and talks. Performances are July 10–14 at the Park Avenue Armory. www.trishabrowncompany.org
Diane Madden and Greg Lara in Astral Converted. Photo by Lois Greenfield, Courtesy TBDC.
More from River to River
The River to River festival produces the kind of event that makes the Big Apple fun in the summer months. This year it gives young choreographers a chance to retool finished works to fit into an outdoor site in the city. The Lower Manhattan Cultural Council, which organizes the festival, is great at finding street corners, alleyways, and parks that you never thought were danceable. Watch for performances by Maria Hassabi, Juliana May, and Beth Gill. Also keep an eye out for River to River’s Tap It Out day at the World Financial Center and JoAnna Mendl Shaw’s installation on Governors Island. www.lmcc.net
STREB at last year’s River to River festival. Photo by Godlis, Courtesy LMCC.
Back to Where He’s Never Been
Sweet, silly, and sly, Al Blackstone’s infectious girl-meets-boy romp, Brown Eyed Girl, swept the Capezio A.C.E. Awards last summer at the Dance Teacher Summit. He returns this month with Happy We’ll Be, a new 75-minute show in the style of musical theater with a cast of 15. The story is told through movement, he says, “almost like a silent film.” For Blackstone the venue has special significance: His parents used to dance the night away at Roseland before he was born. Happy We’ll Be heads the series of A.C.E. Awards shows that includes 2011 runners-up Nathan Makolandra and Billy Bell. July 26–30 at Roseland Ballroom. www.roselandballroom.com or www.alblackstone.net
Al Blackstone. Photo by Jeremy Davis, Courtesy Blackstone.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.