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The Best Moments from Last Week's YAGP Gala
To hear the screaming throngs of teenagers, you might think this was a Beatles concert in 1964. But no, it's dance students from all over the world joining together for the Youth America Grand Prix's gala at Lincoln Center, excited to see some of the greatest stars in dance today. Their rafter-shaking enthusiasm was heartening to hear, as they will no doubt become the performers, teachers, donors and audiences of tomorrow.
Actually, every single dance was a "best moment." In the first half of the YAGP gala, dubbed the "Stars of Tomorrow," 11 young dancers from the United States, Argentina, Portugal, Czech Republic, Japan and China displayed their outsized talents in solo variations. The young audience responded to the astounding turns and jumps that kept coming and coming.
Tiler Peck and Zachary Catazaro in Wheeldon's "Carousel," all photos Siggul/VAM
But the audience also yelled for Act II: "Stars of Today," with fewer spectacular turns and jumps. When Tiler Peck (a 2016 Dance Magazine Award recipient) appeared onstage in Carousel, one knew instantly that we were in the presence of an artist. As she wound toward and away from her partner, YAGP alum Zachary Catazaro, every corpuscle of her body was expressive. Her head and upper body drifted and swayed beautifully with the Gershwin music, making Christopher Wheeldon's choreography look like it was spun from her heart. Catazaro was the perfect partner for the Carousel narrative—charismatic, a bit dangerous, a bit too close.
Brittany O'Connor and Paul Barris in their "Besame Mucho"
For a complete change of pace, ballroom champions Brittany O'Connor and Paul Barris (both of whom I have co-judged with at YAGP) dazzled with their tango-cum-ballet routine Besame Mucho. To accentuate her leggy versatility, O'Connor wore one ballroom shoe and one pointe shoe. To music played live by Delaney Harter on violin and William Healy on piano, Barris threw O'Connor into some breathtaking corkscrewing spirals.
Marcelo Gomes choreographed a fun solo with bursting leaps called Tous Les Jours II. Xander Parish, the noble Brit at the Mariinsky Ballet, had visa problems, so American Ballet Theatre's James Whiteside stepped in for Parish, learning it in one day. He gave the solo precision, energy, and a goofy sense of humor.
Skylar Brandt and Gabe Stone Shayer in Messerer's "Spring Waters"
Two YAGP alums who are now on the rise at ABT—Skylar Brandt and Gabe Stone Shayer—almost carried off the tricky Spring Waters perfectly. This is a Soviet-era warhorse choreographed by Asaf Messerer with heroic hurling and lifting—including that famous one-handed lift where the guy's arm looks like the stem of a statue. Brandt's reckless hurl was worthy of Plisetskaya, but the one-armed lift got off to a bad start. Brandt seemed to collapse as they prepared for it—but Shayer made a quick save and raised her high up anyway, just in time to rush triumphantly off stage left.
Evan McKie and Svetlana Lunkina in Dawson's "Swan Lake" pas de deux
Evan McKie, the National Ballet of Canada star (and member of Dance Magazine's Advisory Board) blew in backwards in David Dawson's tutu-less remake of the White Swan pas de deux. McKie (last seen in NYC in Wheeldon's Winter's Tale) and Svetlana Lunkina are relatively new stars of National Ballet of Canada, he hailing from the Stuttgart Ballet and she from the Bolshoi. This striking couple brought the complex choreography alive: McKie's open chest, poetic demeanor and breathing arms made this Siegfried as sensitive as his Odette.
David Parson's Caught, with its selective strobe light, is always mindblowing. Ian Spring of Parsons Dance sprang up over and over, creating the illusion he was running or walking on air.
Lucia Lacarra and Marlon Dino in Arpino's "Light Rain"
I always welcome seeing Light Rain (1981), by Gerald Arpino, because it reminds me of the Joffrey Ballet's heyday here in New York. The ballet limns the edges of tastefulness with its hippy-trippy seductive duet, emphasis on the pelvis. I love the tabla-like rhythmic music by Douglas Adamz and Russ Gauthier. Lucia Lacarra has the right kind of exquisite body for this exercise in eroticism-charged flexibility.
For a rousing finale, Tamara Rojo and Cesar Corrales (another YAGP alum) dazzled with gyroscopic turns and leaps in Le Corsaire. (Rojo returned the following night at the Julio Bocca tribute, to show her super-human balances in Don Quixote.)
The Grand Défilé, choreographed by Carlos dos Santos, Jr.
The Grand Défilé, that amazing annual parade of 300 dancers ages 9 to 19, filled the stage with clever patterns and bursts of virtuosity as arranged by the ingenious Carlos dos Santos, Jr.
Completing the first half was a tribute to director/choreographer/mentor Bruce Marks, who was recognized with a Lifetime Achievement Award. Nina Ananiashvili, with her usual charm and verve, introduced him, enumerating a few of his many accomplishments. She expressed personal gratitude for his uniting the Boston Ballet and Russian ballet stars in 1990, which gave her a rare opportunity to perform in the United States. Marks spoke about the artistry of dance. Then he raised his voice in defense of the National Endowment for the Arts, which is currently on the chopping block in the latest national budget proposal. He asked us all to stand with him in the effort to keep the NEA up and running and helping the arts. Long live the NEA and YAGP!
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.