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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.
The revival of everything '90s has been in full-swing for a while now—we saw Destiny's Child reunite at Coachella, Britney Spears is headed back on tour, and the Spice Girls miiight be performing at the Royal wedding next month. But Hollywood saved the best '90s moment for last, bringing *NSYNC back together to receive their official star on the Hollywood Walk of Fame on April 30.
Because we love a good dance #TBT, we're reliving five of the boys' best dance moments.
"I Want You Back"
The band's first single from their self-titled debut album in 1998, "I Want You Back," was the start of their takeover (and their choreographed dance moves).
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?