Performances Onstage this Month
Myles Thatcher in the studio. Photo by Erik Tomasson, Courtesy SFB.
A New Ballet Voice
This season, budding dancemaker Myles Thatcher had the opportunity to be mentored by one of the world’s greatest classical choreographers. Alexei Ratmansky chose the San Francisco Ballet corps member for the Rolex Mentor & Protégé Arts Initiative, taking him under his choreographic wing, so to speak. Now Thatcher will premiere a ballet with six couples set to Bach. It’s his first for SFB’s main season, on a program with works by none other than William Forsythe and Hans van Manen. Select dates Feb. 24–March 7. sfballet.org.
Choreographer Asher Lev. Photo Courtesy Chop Shop.
A popular festival in the Seattle area, Chop Shop: Bodies of Work, offers a refreshing lineup of contemporary dance from the region and beyond. This year includes the Bay Area’s Alex Ketley, Gabrielle Revlock from Philly and Seattle’s Stone Dance Collective, led by Eva Stone, the mastermind behind Chop Shop. International entries include Donald Sales, from Vancouver, and Asher Lev, from Belgium/Israel. Several choreographers will also give master classes, with scholarships available to pre-professionals. Feb. 14–15, Theatre at Meydenbauer. chopshopdance.org.
Ballet Memphis in Gabrielle Lamb’s Manifold. Photo by Andrea Zucker, Courtesy Ballet Memphis.
Four Choreographers, One Work
It’s an ambitious project: Gather four choreographers from different dance worlds, ask each to create something that speaks to their identity, then link them together and make one cohesive performance. Ballet Memphis’ I Am will include the voices of Reggie Wilson, Gabrielle Lamb, Julia Adam and Steven McMahon in I Am A Man, I Am A Woman, I Am A Child and closing with I Am, respectively. Each piece will be inspired by the theme of civil rights struggles in America.
“Part of my quest is building a ballet company that looks like our community,” says artistic director Dorothy Gunther Pugh. “If you look at our culture, women, children and people of color are still not fully valued. I want the work we create to have value in other people’s lives. That we realize that ballet is part of the world—not the world.” Feb. 20–22 at Playhouse on the Square. balletmemphis.org.
Yumiko Takeshima and Raphaël Coumes-Marquet in David Dawson’s Giselle. Photo by Costin Radu, Courtesy Semperoper Ballet.
A Modern Take on an Old Tale
Novels, films and operas have captured the tragic love story Tristan + Isolde. This month, Semperoper Ballet dances a new ballet version by David Dawson, whose work has become a staple of many European repertoires. This isn’t the abstract choreographer’s first narrative, though. Dawson, who credits his years dancing for William Forsythe as his most influential, created an unconventional but well received Giselle for the company in 2008. (And it’s on this year’s rep list, as well, with performances in April). Select dates Feb. 15–26 at the Semperoper in Dresden. semperoper.de.
Eve Schulte and Kelly Vittetoe in Nicolas Lincoln’s Semi-Detached. Photo by V.P. Virtucio, Courtesy James Sewell Ballet.
Two Styles, Fused
James Sewell Ballet, known for exploring the possibilities of what ballet can be, has commissioned a work from New York City postmodern darling Joanna Kotze. Her new work will take its ideas from what’s lost in translation—between conversations, cultures and the ballet-vs.-modern-dance division. Also on the bill: Works by Houston’s Jane Weiner and Minnesota choreographers Lance Hardin and Amy Earnest, as well as a new piece by company dancer Nicolas Lincoln. Feb. 6–15, The Cowles Center. thecowlescenter.org.
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.