Editor Approved: 7 Dance Shows to Catch This October
As the fall performance season kicks into high gear, we've been cramming as much excellent dance on our calendars as possible. But if you're feeling overwhelmed by all the options, we've got you covered: From rare U.S. appearances by one of our 2018 "25 to Watch" to an autumn mainstay for New Yorkers, Romeo and Juliet to The Handmaid's Tale, here's what caught our eye.
Intimacy and Insight
A.I.M will perform Kyle Abraham's Dearest Home at The Joyce Theater during NY Quadrille. Photo by Carrie Schneider, Courtesy Richard Kornberg & Associates
NEW YORK CITY The good sight lines at The Joyce Theater are ideal for dance, but in 2016 Lar Lubovitch decided the theater needed a change. He created NY Quadrille, a series in which the Joyce space was transformed from a traditional proscenium into a four-sided stage that allowed us to see—literally—more sides to each participating choreographer. Taking part this year: John Jasperse, Kyle Abraham, Beth Gill, Donna Uchizono and Rashaun Mitchell + Silas Riener. All have tested the boundaries of intimacy in their work, so it will be fascinating to see how each handles this more exposed performance setup. Sept. 24–Oct. 13. joyce.org. —Wendy Perron
Flamenco's New Flame
Eduardo Guerrero. Photo by Marjon Broeks, Courtesy Columbia Artists Management
U.S. TOUR Eduardo Guerrero blazed his way onto our "25 to Watch" list earlier this year with his breathtaking flamenco technique and edgy contemporary sensibility. Now, the boundary-pushing dancer-choreographer is touring the U.S. with his Compania Flamenca Eduardo Guerrero, presenting Flamenco Pasion, an evening-length program of shorter group and solo works. The tour will hit 17 stops beginning Sept. 30 in South Carolina and concluding Nov. 2 in Arizona. eduardo-guerrero.com. —Courtney Escoyne
Take Me Out to the Fall Game
NEW YORK CITY For only $15 a throw, Fall for Dance is a populist's dream. Dance lovers from every neighborhood come to New York City Center and show their appreciation with hoots and hollers. For its 15th year, the festival sprinkles commissions from six choreographers over the two-week, 20-company festival: American Ballet Theatre's Gemma Bond, international favorite Annabelle Lopez Ochoa, New York City Ballet's resident choreographer Justin Peck, commercial powerhouse Sonya Tayeh, tap diva Caleb Teicher, and Jennifer Weber, who is creating a work for Tiler Peck and Lil Buck set to Stravinsky's Petrushka. For extra celebratory fizz, come early on Oct. 1, when audience members are invited for a champagne toast, archive exhibit and pop-up performances. Oct. 1–13. nycitycenter.org. —WP
Out at Sea
Oregon Ballet Theatre performed the third act of Napoli in 2015. Photo by James McGrew, Courtesy OBT
PORTLAND, OR Boy meets girl, girl insists on marrying boy despite parental disapproval, girl is lost at sea, loses her memory and becomes a sea nymph, but is ultimately reunited with boy for a third-act wedding. The plot of August Bournonville's Napoli traces familiar (if zany) contours, but the 1842 ballet, long a classic in Denmark, is largely absent from American stages. Oregon Ballet Theatre becomes the first U.S. company to stage a complete production this month. With former Royal Danish Ballet artistic director Frank Andersen at the helm, Napoli will offer a rare glimpse at the nuanced Bournonville style so rarely seen in the U.S. Oct. 6–13. obt.org. —CE
Works inspired by radical, revered writings from female authors
extreme lyric I
Hope Mohr's extreme lyric I. Photo by Margo Moritz, Courtesy John Hill PR
SAN FRANCISCO The poet Sappho's unparalleled, incomplete musings on female desire feature in Hope Mohr's latest work, extreme lyric I. Anne Carson's translations are interwoven with an original text exploring questions of gender identity and narrative, delivered by transgender writer Maxe Crandall. Oct. 4–6. hopemohr.org. —CE
The Handmaid's Tale
Lila York's The Handmaid's Tale. Photo by David Cooper, Courtesy Royal Winnipeg Ballet
WINNIPEG Royal Winnipeg Ballet wades into the #MeToo movement with a revival of The Handmaid's Tale, Lila York's 2013 adaptation of Margaret Atwood's dystopian novel. Through a series of vignettes, audiences follow Offred's struggle to survive in a brutally patriarchal society. Oct. 10–14. rwb.org. —CE
Two Households, Both Alike in Dignity
L.A. Dance Project. Photo by Laurent Philippe, Courtesy Los Angeles Philharmonic
LOS ANGELES The Los Angeles Philharmonic continues its recent streak of intriguing collaborations with dance artists this month with performances of Prokofiev's Romeo & Juliet. L.A. Dance Project will animate the cinematic score with choreography by artistic director Benjamin Millepied, including the iconic balcony scene. Oct. 18–21. laphil.com. —CE
- Performances | The Joyce Theater ›
- 39 Dance Performances to See This Fall - The New York Times ›
- L.A. DANCE PROJECT ›
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- The Handmaid's Tale | Whats On | Canada's Royal Winnipeg Ballet ›
- Hope Mohr Dance and ODC Theater Co-Present extreme lyric I ... ›
- Hope Mohr Dance ›
- Napoli | Oct 6-13, 2018 | Oregon Ballet Theatre ›
- Home | Eduardo Guerrero ›
- A Second Quadrille Set to Start the Joyce Theater Season - The ... ›
- NY Quadrille | The Joyce Theater ›
- Fall for Dance Celebrates 15 Years With 6 Premieres - The New ... ›
- 15th Fall for Dance Festival | New York City Center ›
Yvonne Rainer's Parts of Some Sextets (AKA "the mattress dance") hasn't been revived since it premiered in 1965. Nor has Rainer had any wish to do it again, to ask performers to heave 10 mattresses around while carrying out 31 tasks that changed every 30 seconds. It was an unwieldy, difficult dance. (Even the title is unwieldy.) But Emily Coates, who has danced in Rainer's work for 20 years, became curious about this piece and was determined to see it again—and to dance in it. She will get her wish November 15–17, when the mattress dance will be performed as part of the Performa 19 Biennial.
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:
"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.