Wendy Perron’s Best of 2016
The following list is limited by where and when I was able to see dance.
New Choreography (World, U. S. and company premieres)
- Anne Teresa de Keersmaeker’s Vortex Temporum, at BAM’s Next Wave Festival. Her group Rosas accumulates a fierce momentum shared by the band Ictus, playing composer Gérard Grisey’s score emphasizing the transformation of pure sound. Chalk circles on the floor help you follow how the music and dance careen in intersecting orbits.
Vortex Temporum, photo by Robert Altman
- The Winter’s Tale by Christopher Wheeldon, co-commissioned by The Royal Ballet and National Ballet of Canada and performed at Lincoln Center Festival. Finally, a new story ballet that makes you care about the characters—and with a terrific new score by Joby Talbot. Clever storytelling about a monstrous jealousy, but ending in a measure of peace. (I discussed why I think this ballet will last.)
- Figure a Sea by Deborah Hay, at Peak Performances in Montclair, NJ. Originally made for Sweden’s Cullberg Ballet, it sets out an expanse of constant change among 20 intermingling dancers, like a nighttime sky with stars that twinkle here and there. When you catch a falling star, you don’t know where it started from.
- Murmuration by Edwaard Liang, with music by Ezio Bosso, company premiere for BalletMet in Columbus, OH and originally made for Houston Ballet in 2012. Inspired by the astonishing patterns created by starling migrations, this ballet has sweeping group sections, inventive duets, and a cumulative power. It deserved the standing ovation.
- Catacomb by Beth Gill at The Chocolate Factory. Flesh moving over flesh with intentional stillness—or the illusion of stillness, or at least stubbornly unending patience. With music by Jon Moniaci and lighting by Thomas Dunn, Catacomb immerses us in a spare, slow and unpredictable world. There is something deathly about it—I mean besides the title—and yet very much alive.
Beth Gill's Catacomb, photo by Brian Rogers
- Badke at Live Ideas Festival, “MENA/Future – Cultural Transformations in the Middle East North Africa Region,” at New York Live Arts. Choreographed by Koen Augustijnen, Rosalba Torres Guerrero and Hildegard De Vuyst of Les Ballets C de la B in collaboration with a group of young Palestinians of different backgrounds. Rough, raw and giddy, sometimes coalescing into warm folk dance, then breaking up into mayhem. Part celebration, part resistance, this piece has the fierceness of early Wim Vandekeybus.
- Monchichi, by Wang Ramirez, the duo consisting of Korean-German Honji Wang and French-Spanish Sébastien Ramirez. The piece, performed at BAM's Next Wave Festival, was a nifty mix of hip-hop, martial arts, a Beckettian tree, a platinum wig and some crazy daring maneuvers.
Monchichi, with Wang and Ramierez, photo by Julieta Cervantes
- Analogy/Dora: Tramontane, commissioned by Peak Performances, with the NYC premiere at the Joyce. The Bill T. Jones/Arnie Zane Company combines the stories of Holocaust survivor Dora Amelan with Jones’ signature shape-shifting. The dancers recite the story of her escape with great sensitivity, avoiding sentimentality. Bjorn Amelan (Dora’s son) contributes flats and boxes that keep the story moving. Jones has made a work of art from genocide, and that’s quite an accomplishment.
- Faye Driscoll's Thank You for Coming: Play, at BAM’s Next Wave Festival. (She was on my 2014 list, too). Driscoll’s six dancers tap into their inner crazy selves—wailing, lamenting, misbehaving—but there’s a rigor underneath it all. And there was a special element of audience involvement.
- Walking Mad, a company premiere for Alvin Ailey American Dance Theater by Johan Inger, set to music by Maurice Ravel and Arvo Pärt. A man meets a woman hanging out her laundry, and a surreal dream tumbles onto the stage. A giddy romp with ingenious use of a big wall and doors. Invigorating and fun.
Walking Mad, with Rachael McLaren and Chalvar Monteiro, photo © Paul Kolnik
- Crystal Pite’s Solo Echo, seen by both Ballet BC at the Joyce and Hubbard Street Dance Chicago at Jacob’s Pillow. A scattered and dark first half yields to a poignant second half that expresses an infinitely tender sense of loss.
- Tristesse by Marcelo Gomes, set to Chopin, performed at the Ardani 25 Dance Gala at NY City Center. A playful quartet for men turns from show-off-y to stormy to sad, all supported by a wonderful camaraderie.
- Nora Chipaumire's portrait of myself as my father, at BAM Fishman Space. She takes on a boisterous, humiliated black manhood, imagining what her father endured in Zimbabwe. The snarling and swaggering give way to compassion, but along the way we are alarmed as much as entertained.
This was a great year for choreography on Broadway. Some musicals featured full-out, space-eating choreography: Hofesh Shechter for Fiddler on the Roof; Sergio Trujillo for On Your Feet!; Savion Glover for Shuffle Along; and Andy Blankenbuehler for Hamilton. Others depended on functional movement that enhanced the story: Sergio Trujillo for A Bronx Tale (for more on Trujillo, see his "Choreography in Focus."); Lorin Latarro for Waitress, Spencer Liff for Spring Awakening; Kathleen Marshall for In Transit.
- Craig Wasserman of Pennsylvania Ballet at the Joyce. A dream of a dancer who is compelling when simply lifting an arm. He’s an ardent partner, making you believe he really loves the one he’s with. Trey McIntyre gave him a knock-out solo in The Accidental that I’d love to see again.
- New York City Ballet’s Taylor Stanley in both Ratmansky’s Pictures at an Exhibition and Justin Peck’s Everywhere We Go: Windblown, bursting with energy, joy and freedom.
- Jonathan Porretta of Pacific Northwest Ballet in Balanchine’s Prodigal Son at New York City Center: Bold, kinetic, larger than life, itching to break free.
- Doron Perk, wild and lanky, was a fresh, arresting presence in Zvi Gotheiner’s On the Road at BAM.
Doron Perk in On the Road, photo by Ian Douglas
- The octogenarian Valda Setterfield as King Lear in John Scott’s Lear at NY Live Arts. Elegant, stoic, veiled emotion, speaking and moving from the gut. An excellent portrayal of a creeping bewilderment.
- Aaron Mattocks in Big Dance: Short Form, a mixed bill from Big Dance Theater at The Kitchen. Fierce and inventive in Short Ride Out, archly flamboyant and supercilious as Samuel Pepys in the 17th-century Art of Dancing while keeping each movement crystal clear.
- National Ballet of Canada’s Xiao Nan Yu as Paulina in Wheeldon’s The Winter’s Tale. Every move speaks of caring and compassion as well as beautiful ballet lines. She carries the wisdom of the story in her body.
- Skylar Brandt as the Golden Cockerel in the new ABT ballet of the same name by Alexei Ratmansky. If anyone can kill a king in a single, swoop-down peck, it’s Skylar Brandt.
- Most romantic onstage couple: Alessandra Ferri and Herman Cornejo. They appeared together in ABT’s Romeo and Juliet—her comeback as Juliet, bringing ecstatic fans (I was one of them) to the Metropolitan Opera House. If I’m not mistaken, she stole an unplanned kiss in the ballroom scene. They paired again in Wayne McGregor’s new Witness, commissioned by Fall for Dance. Here they were less fevered but still with great chemistry.
- Logan Pachciarz. A magnetic presence at Kansas City Ballet. I caught him in his last performance with the company at the Kauffman Center in Kansas City. In Helen Pickett’s Petal, you could discern a sly sense of humor just beneath the strong, clean dancing.
- NYCB soloist Ashley Laracey: Quicksilver in petit allegro, luscious in slow steps, she shone in Tory Schumacher’s new Common Ground and Peter Martins’ Ash. (She was an “On the Rise” in 2012.)
- As the first to walk on, Darrin Wright sets the pace and purpose of Jane Comfort’s You Are Here, presented by American Dance Institute at The Kitchen. Near the end, he improvises a juicy, softly desperate solo.
- Ailey’s Matthew Rushing in Ron Brown’s Ife / My Heart, at Fall for Dance at NY City Center. Wearing white, his whole body shimmers with devoutness.
- Josie G. Sadan in Brenda Way and KT Nelson’s epic boulders and bone at UCLA’s Royce Hall. Commanding, sharp coordination and stamina.
- Brandon Washington in Thank You for Coming: PLay (see above). His tantrum (“Where is my mom?”) catches at the heart: it is simultaneously heart-rending and funny.
Brandon Washington, left (Sean Donovan, right) in Thank You For Coming: Play, photo by Julieta Cervantes
- Best longterm series: Platform 2016: A Body in Places, in which Eiko Otake explored partnerships with other dancers and with the environment of the Lower East Side. She’s a portable, poetic requiem wherever she goes. Witnessing a performance of hers is an experience you don't easily forget.
Eiko Otake on sidewalk, photo by Ian Douglas
- Lighting design: Lenore Doxsee made a light into a sculptural element of John Jasperse’s Remains, a collage of art moments, at BAM. The reflections of a pearly dress makes the floor shimmer like a treasure chest. A horizontal beam suddenly takes on a saturated red, dividing the space into warm and cool.
- Best unearthing: Russian filmmaker Alla Kovgan discovered an old reel of a 1958 Merce Cunningham performance in the storage bins of Norddeutscher Rundfunk Studio in Hamburg. The archival film includes Changeling (1957) and excerpts from Suite for Two and Springweather and People, making it possible for former Cunningham dancer Jean Freebury to reconstruct Changeling and Springweather at Baryshnikov Arts Center.
- Best socially conscious soundtrack: Kyle Abraham's Untitled America for Alvin Ailey American Dance Theater has us listening to the voices of people who have been incarcerated or relatives of inmates. We know from statistics that America puts an inordinate number of black men behind bars. Abraham brought this tragedy into the theater. Laura Mvula's song "Father Father" had everyone in tears.
Imagine this scenario: You get a text from a friend just as you're heading into ballet class, and have to answer as quickly as possible. Now, if you were heading into a juggling class, or water polo match, or fencing practice, you'd be able to send a quick emoji in response. But alas, you're forced to type out a full sentence. Because, to the ballet world's collective frustration, There. Is. No. Ballet. Emoji. Until now...
According to Emojipedia, the site for all things emoji-related, a ballet shoe emoji is slated to come out later this year (the exact date hasn't been announced yet) as part of Emoji Version 12.0. The proposal came from Australia-based tech company manager and ballet fan Rüdiger Landmann. Landmann proposed three separate ballet emojis: a ballerina, a male ballet dancer and a pair of pointe shoes. Only the pointe shoe emoji was approved, and we'll be honest, it doesn't look like any pointe shoe we've ever seen. It's more like a pink loafer with ribbons attached. But we're trying not to complain, as this is definitely a (wobbly, given the shape of that shoe) step in the right direction.
You might still be thinking wistfully of the figure skating choreography at the 2018 Winter Olympics or already looking forward to the gymnastics competition at next summer's games, but we're officially marking our calendars for Paris 2024. Why? There's an excellent chance that break dancing will make its Olympic debut.
The jukebox musical is a bonafide Broadway staple. Everyone from ABBA to Elvis and Billy Joel to The Beach Boys has been given the Great White Way treatment, and shows with Alanis Morissette's and Michael Jackson's hits are on their way. The big question on our minds is, What current artists' songs might we hear on Broadway in the future?
The fourth wall has come down, and it has opened up a whole new kind of gig for dancers. Since Sleep No More became a hit in 2011, immersive theater experiences have been shattering expectations by inviting audiences to move through the world of the performance as they please. What kind of skill set does this burgeoning art form demand?
For choreographer Raja Feather Kelly, music is simple: "There's good music and there's bad music and I love good music and I love to hate bad music."
But, true to form, Kelly—whose past few months have included choreographing the Skittles Super Bowl musical and earning one of our first-ever Harkness Promise Awards—had some surprises up his sleeve when he made us a playlist he describes as "for moody Geminis who work over 12 hours a day and need a playlist that can shuffle and never disappoint."
Though the playlist has some whiplash-inducing twists and turns—from Coheed and Cambria to Carly Rae Jepsen to Missy Elliott to Schubert—there is a through-line: "Music that makes you feel like you're in your own movie. I love walking through the street feeling like I'm on a runway, living my best life."
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Whether she's performing on stage, in music videos, or on television, French electro-pop sensation Chris (formerly known as Christine and the Queens) never seems to stop moving.
Building a full-length ballet from scratch is an intense process. For the world premiere of Anna Karenina, a collaboration between The Joffrey Ballet and The Australian Ballet, that meant original choreography by Yuri Possokhov, a brand-new score by Ilya Demutsky, costume and set designs by Tom Pye and lighting designs by David Finn.
Growing up, I never saw a problem with my dancing and neither did my Muslim-Egyptian dad or my non-Muslim, American mom. They raised me to understand that the core principles of Islam, of any religion, are meant to help us be better people. When I married my Pakistani husband, who comes from a more conservative approach to Islam, I suddenly encountered perceptions of dance that made me question everything: Is it okay to expose a lot of skin? Is it wrong to dance with other men? Is dance inherently sexual? What guidelines come from our holy book, the Quran, and what are cultural views that have become entwined in Islam?
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared five of his top tips for getting into top shape.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.
"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."
Lately I've been having recurring dreams: I'm in an audition and I can't remember the combination. Or, I'm rehearsing for an upcoming show, onstage, and I don't know what comes next. Each time I wake up relieved that it was only a dream.
However, this is the reality of how I often felt throughout my dance career. Once I knew the steps, there was no undoing it. It was the process of getting there that haunts me to this day.
Sebastian Abarbanell remembers being asked as an undergrad at Trinity Laban in London to perform wearing only a dance belt. "I said no," he says, "because I felt uncomfortable." Now a performer with Sidra Bell Dance New York, he's performed partially nude several times, without reservation. The difference? "It comes with more experience and maturing as a dancer," he says. "When you see a dancer living in their skin, you don't need to put anything else on them. When I said no in college, I wasn't in my skin yet."
Getting in your skin—and getting comfortable wearing only your skin onstage—requires a particular alchemy of vulnerability, agency, preparation and practice.
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).
The one problem? Pointe shoes have traditionally only been designed for women. Until now.
Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."
The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.
You wander through the grocery aisles, sizing up the newest trends on the shelves. Although you're eager to try a new energy bar, you question a strange ingredient and decide to leave it behind. Your afternoons are consumed with research as you sort through endless stories about "detox" miracles.
What started as an innocent attempt to eat healthier has turned into a time-consuming ritual with little room for error, and an underlying fear surrounding your food choices.