Wendy's Best of 2017
Here is my list of favorites from this year, some of them with video clips embedded. I've also added "lingering thoughts" about certain situations in the dance world. As usual, my choices are limited by what I have actually seen. Most of the following are world premieres.
• Andrea Miller's Stone Skipping in the Egyptian room at the Temple of Dendur at the Metropolitan Museum of Art: Ancient and ultra-modern at once, gaga-initiated grapplings, telling many stories of people in struggle and solidarity. The group sequence (with her company Gallim plus dancers from Juilliard) from lying on the floor with pelvis bobbing to standing, to swaying, to skipping wildly about was transcendent.
• Hofesh Shechter's Grand Finale at BAM's Next Wave Festival. Apocalyptic in the most beautiful way. The 10 dancers attack, drag, rescue, wrestle, each other, march crazily to the beat of Shechter's own percussive music. Flashes of humor peeking through overwhelming bleakness. The women go totally limp for a disturbing amount of time. Gripping because of engaged choreography and the full-throttle dancing. The musicians are nomads, appearing and disappearing in Tom Visser's mysterious lighting.
• The Times Are Racing by Justin Peck for New York City Ballet, music by Dan Deacon. A sneaky blend of jazz, tap and ballet in sneakers, with a tap dance just for Justin and Robert Fairchild. But the best part is a snazzy yet vulnerable duet for Tiler Peck and Amar Ramasar: quick inward movements, sharp turns of the head, playful swatting of limbs but something more serious too. The way Tiler Peck moves slow after stillness is captivating. Click the picture below for a link to the video:
• Kyle Abraham's Dearest Home at The Kitchen produced by Lumberyard: The six dancers were so exposed, so willing to strip down to skin and heart. Searching each other for hard-earned affection or shaking with solitary sobbing.
• Composer's Holiday by 18-year-old Gianna Reisen for New York City Ballet. Excitable jittery energy, witty tableaux, a humor stemming from tricky momentum. A woman leaps and just before she lands a man somersaults underneath her. Quick changes of direction mid-lift. Excellent use of Lukas Foss music.
• Bill T. Jones's A Letter to My Nephew at BAM's Next Wave Festival. The street brawl was unforgettable, as were the slow love duet for two men and the sparring physical duet for two women. Reminds me of Bill T. and Arnie Zane's early rough-and-crazy Contact Improvisation.
• Let It Linger by Vicky Shick at The Kitchen, presented by Lumberyard. A poetic spareness of space, time, movement. A fluidity of relationships: mother-child, sisters, lovers. A minimalist sensibility edged with both humor and momentary violence. Pauses just long enough to imagine a story. The four dancers are each differently feminine.
Vicky Shick's Let It Linger, PC David Gonsier
• Kota Yamazaki/Fluid hug-hug's Darkness Odyssey Part 2: I or Hallucination, at Baryshnikov Arts Center. This put a spell on the audience. Four dancers started with near nothing, and gradually built to where a comic cosmic craziness seeped from them. Each of the four are gloriously eccentric while Yamazaki himself barely moved, a dark huddle on the ground off to the side.
• Michelle Dorrance's Until the Real Thing Comes Along (a letter to ourselves) at the Joyce. Four women entertain the audience to the Nth degree, then gradually reveal the complex characters behind the shiny facade. A brilliant idea, tapped out with gonzo technical chops and energy, each woman her own person, their camaraderie touching. A great pairing with (the third rendition of) Myelination, a bold rhythmic statement and exciting cultural mix.
• Twelve of 'em, David Hallberg, in this delightful Fall for Dance commission that Mark Morris made for him to piano music by Benjamin Britten. Classical lines are meshed with odd, funny scramblings. Hallberg slides and melts beneath the piano bench. During the pauses, he fixes his hair or walks casually—heel first like a normal person, not rarefied ballet. Each of the 12 sections is developed in a legible theme-and-variations format but is full of subtle surprises. In one variation, he shakes out his body edging toward the pianist, Colin Fowler, trapping him on the last note. The last move, with head dipping down modestly and palms facing outward, repeats the opening movement: I am here for you.
David Hallberg in Twelve of 'em, PC Stephanie Berger
• Koma, The Ghost Festival at Danspace. He alternated between quiet, stealthy walking meditations and sudden moves. He started indoors and took us outside, where his recycled Caravan was adorned with life-sized drawings, possibly the ghosts of the title. He climbed on top and waved a red flag like a crazy Cassandra begging for peace—or truth.
• Simone Forti's News Animation. I saw versions of this at UC Santa Barbara, the Danny Kaye Playhouse at Hunter College, and Sundays on Broadway. (Disclosure: All were related to Radical Bodies, an exhibit I co-curated.) Each time, I was drawn in by her oracle-like pronouncements while showing us her body-to-earth, octogenarian wisdom. Oblique connections between body and mind. She spoke of Mussolini's thrust-forward chin, and a cave where fish lured each other. (Her leather jacket served convincingly as a cave.)
• Memoirs of a …Unicorn by Marjani Forté, presented by New York Live Arts at Collapsible Hole, the cavernous, flood-damaged basement of Westbeth. Adjoining alcoves were filled with art (design team: Mimi Lien, Peiji Wong & Richard Forté). Forté knocked around, bumping down from a wooden pyramid tower, with a telephone pole–sized wire mesh unicorn attached to her forehead. Once she unstrapped it, she danced, interacted with the audience, got into screaming fits, and writhed as in a nightmare. Once, after sobbing uncontrollably, she was comforted by a creeping shadow. Changing from tragic to sassy on a dime.
Marjani Forti, PC Maria Baranova
• Kenneth King in his new Labyrinth with Voices. At University Settlement, presented by The Construction Company. A major downtown figure in the 70s and 80s, King moves with a sharp impulsiveness, exaggerating hands and voice. Like a ventriloquist, he is somehow remote from his various (ridiculous) characters. Postmodern meets Vaudeville. The inimitable Kenneth King, dubbed "the dancing philosopher" by Deborah Jowitt, is back.
Kenneth King, PC Grant King
• Tiler Peck's debut in Swan Lake at New York City Ballet. A monumental talent in a monumental role. She has a delicate wildness as Odette, an assured rock-solid sharpness as Odile. Her portrayal had a mercurial grandeur comparable to that of the great Russian ballerinas.
Tiler Peck and Chase Finlay, PC Paul Kolnik, courtesy NYCB
• Tony Yazbeck in Prince of Broadway. Susan Stroman gave him a tap solo where he rose to the heights of joy and plunged to the depths of despair. I was on the edge of my seat. (Click the photo below for video of the finale.)
• In a stellar cast of Serenade After Plato's Symposium by Ratmansky for ABT, Calvin Royal III made me love slow movement again. The entire male cast was outstanding, with Herman Cornejo, James Whiteside, Daniil Simkin.
Calvin Royal III in Serenade after Plato's Symposium, PC Rosalie O'Connor, courtesy ABT
• Sterling Hyltin in Neverwhere (2013). She was in the original cast of this ballet by Benjamin Millepied, music by Nico Muhly and costumes by Iris van Herpen. Hyltin inhabits the crinkly black costume and slick toe-shoe boots like an elegant, slinky sci-fi character.
Neverwhere, PC Paul Kolnik, courtesy NYCB
• The women of Ballet West at The Joyce: Emily Adams' delicate fluidity in Dances for Lou by Val Caniparoli; Arolyn Williams' ghostly lushness in Ruth: Ricordi Per Due by Arpino; Beckanne Sisk's sparkling technique in Balanchine's Chaconne.
Arolyn Williams and Chase O'Connell in Nicolo Fonte's Fox on the Doorstep, PC Beau Pearson
• In Dorrance Dance's Myelination, seen at Fall for Dance, the rangy Warren Craft moves his body like no one else. He staggers unpredictably through wildly rhythmic moves. His hunched upper body gives him a friendly Frankenstein look, but his gangliness makes him endearing.
• Also in Myelination was Ephrat Asherie, whose b-girling refreshes Dorrance's excellent tap choreography, especially when she joins in a kind of friendly battle with Dorrance, thereby igniting a delicious blend of hip hop and tap.
• PeiJu Chien-Pott of the Martha Graham Dance Company in Ekstasis (1933) by Martha Graham, "reimagined" by Virginie Mecene, at the Joyce. High drama, sinuous movement quality, her extreme angles defining modernism.
• John Selya, in Twyla Tharp's Dylan Love Songs at the Joyce. His wearily and warily poetic presence brought out the tenuous connection between the hard-driving Tharp body and the melancholy Dylan voice.
John Selya (left) in Dylan Love Songs. Photo via twylatharp.org
• Stella Abrera and Sarah Lane: These two new principals of ABT have been dancing exquisitely for years. Finally they are having their moment in the sun, much of it furnished by resident choreographer Alexei Ratmansky. In Souvenir d'un lieu cher, originally made for Dutch National Ballet in 2012, the two couples engage in lovely, inventive partnering. Both Abrera and Lane are absolutely lustrous while dancing to selections of Tchaikovsky; Abrera has moments of sadness. These two dancers were also the highpoints of a Ratmansky premiere I did not otherwise enjoy: Whipped Cream. Lane played Princess Praline with astoundingly fast footwork, and Abrera played the lovely, languid Princess Tea Flower.
Alban Lendorf, Sarah Lane, Marcelo Gomes and Stella Abrera in Souvenir d'un lieu cher, PC Gene Schiavone
• Marcelo Gomes as A Struggling Composer in The Red Shoes by Matthew Bourne. He had an outsized drama that was just right for this campy remake of the iconic 1948 movie, at New York City Center.
Marcelo Gomes in The Red Shoes, PC Lawrence Ho
• Carlo Antonio Villanueva, in BTJAZ's A Letter to My Nephew: Small and springy, ready for anything; juicy voguing and runway moves. A tour de force in every section of this dance.
• Mina Nishimura, in Vicky Shick's Let It Linger, her own work-in-progress at Sundays on Broadway, and in Kota Yamazaki's premiere. Her presence is fragile yet sturdy, feminine yet boyish, interior yet visible. There is something incandescent about her.
• Café Müller and The Rite of Spring, both by Pina Bausch with sets and costumes by Rolf Borzik, performed by Tanztheater Wuppertal Pina Bausch at BAM's Next Wave Festival. Welcome back to the program that jolted Americans awake to the larger-than-life glories of Pina Bausch's work. Both are about women's lives: the first bleak but riveting, the second a powerful rendition of Stravinsky's music.
• The Golden Section (1983 as part of The Catherine Wheel) by Twyla Tharp has not been performed by Alvin Ailey American Dance Theater since 2006. A dense and fun and funny concoction with split-second timing; nothing breaks these dancers' stride.
• Four Screaming Women (1982) by Jane Comfort, reprised at Joe's Pub, part of Dance/Now. Obsessive precision of gesture, speed and spoken text, making for a wonderful, witty brand of virtuosity. It helps that one of the four "screaming" women is a man.
• Best museum performance: Work/Travail/Arbeid, an adaptation of Anne Teresa De Keersmaeker's whirlwind Vortex Temprum, which was on my Best of 2016 list. This transformed the Museum of Modern Art with live music by the late Gérard Grisey that resounded throughout the halls. The piano ended up being wheeled around the gallery. It was a torrent of a piece, the movement and music whipping through the galleries at MoMA. We spectators felt like part of the action when dancers threaded through us.
• The most exquisite farewell: Diana Vishneva in her last ABT performance, as Tatiana in Cranko's Onegin at the Metropolitan Opera House. The passion of her dancing and acting hold you in its grip. She was partnered by the equally passionate Marcelo Gomes. A couple made in heaven.
• Broadway Musicals: I tend to enjoy the quieter productions that really make me feel something, rather that the big spectacles with lots of dance numbers. The new musicals this year that touched me deeply were Dear Evan Hansen, Indecent and The Band's Visit. I also enjoyed Bandstand and A Bronx Tale.
The cast of Indecent, PC Carol Rosegg
• The downtown presenting series: Sundays on Broadway, in Cathy Weis's loft in SoHo, is now in its fourth year. Time for any-age downtown types to show works in progress. This fall the series was guest-curated by choreographers Vicky Shick and Jonathan Kinzel. Great originality and craft were evident in works-in-progress by John Jasperse, Juliette Mapp, Lisa Nelson, Ishmael Houston-Jones, Jennifer Munson, Mina Nishimura, Neil Greenberg and others. Cathy Weis, a host with an irresistibly wry charm, occasionally shows her own video/dance gems. (Disclosure: I've participated in some of the past programs.)
• A woman leader for NYCB? The sexual misconduct maelstrom swept away Peter Martins, at least temporarily. A down-to-earth interim team of three young ballet masters and the resident choreographer has taken on responsibilities of artistic management. And we can't help but dream of the possibility of a woman taking over this storied company. Lord knows there are enough brilliant former NYCB female dancers who could handle it.
• A Plea for Editing: Choreographers are forgetting that when they ramble, they lose our attention. I saw several works by otherwise wonderful choreographers that ran way over their welcome. They started strong, with all kinds of reason to love the movement, then lost steam. My advice: Be less in love with every step you make. If you repeat phrases, have a good reason. Be aware of what other pieces/ballets are on the same program.
• Good call: Katlyn Addison sported an Afro in Ballet West's program of two contemporary ballets at The Joyce. Refreshing, considering how locked down the women's hair must be on most ballet stages.
• Same-sex duets just got more romantic: Most same-sex duets I've seen in the ballet world are kind of incidental. But Lauren Lovette, in her Not Our Fate, gave Taylor Stanley and Preston Chamblee a real-live falling-in-love duet that energized everything about the ballet relationships.
Taylor Stanley and Preston Chamblee in Not Our Fate, PC Paul Kolnik, courtesy NYCB
• Harbinger: NYCB's All-Robbins evening of three epic ballets, each in a completely different mood: Glass Pieces (1983), Moves (1984) and The Concert (1956). I never tire of seeing these works. Robbins starts with "ordinary" people doing ordinary things like walking and then builds to delicious heights of the imagination. A harbinger of the multi-faceted Robbins Centennial to come in 2018.
• Kudos to Julie Kent for speaking up in support of Marcelo Gomes. These days, as soon as a man is accused—even in the most vague, unsubstantiated way, of sexual misconduct—he is treated like a pariah. It's saddening to me that, because of an unproven claim from eight years ago that has nothing to do with ABT, Gomes has had to resign from the company he has given his life and artistry to for 20 years. Julie Kent, in her statement to The Washington Post, confirms my belief that, in addition to being a great dance artist, Gomes is a fine human being. Her deep love for him, which we saw when she presented the 2015 Dance Magazine Award to him, is obvious. Many of us feel the same.
Few people who are busier during the holidays than corps members of American ballet companies. December is officially Nutcracker season—a company's chance to earn a huge chunk of their revenue for the year, and a dancer's chance to go a little, ahem, nuts, waltzing and swallowing fake snow night after night for weeks on end.
But Nutcracker can also be an opportunity like no other, and for some corps members, it's the highlight of their year. Five dancers told us what helps them get through it all.
When Rambert, the United Kingdom's oldest professional dance company, announced Wednesday that Benoit Swan Pouffer had been appointed artistic director, it was hardly surprising news. Since April, two months after Mark Baldwin stepped away from Rambert after a 15-year tenure at its head, Pouffer has served as guest artistic director. That initial appointment was in and of itself a somewhat unexpected move, but the company had already brought the choreographer into the fold with a commission for its newly-formed junior company, Rambert2.
Given how regimented the Radio City Rockettes are, from their precise kick lines to their Christmas Spectacular season show schedule (which can include up to four performances a day), it's no surprise they're just as strict with their skincare routines. After all, sweating in stage makeup six days a week can cause dryness and breakouts for even the most easygoing skin types. We caught up with Rockettes Alyssa Lemons and Nina Linhart for all of their tried-and-true skincare picks.
Congratulations are in order for American Ballet Theatre star Gillian Murphy and her husband, former ABT dancer Ethan Stiefel, who are expecting their first child next June!
Murphy announced her pregnancy today on Instagram:
She will not be dancing in the company's upcoming tour or the 2019 Metropolitan Opera House season, but plans to return to the stage next fall.
We have no doubt that Murphy will be the ultimate cool mom. Here's why:
Since losing her eyesight due to an undiagnosed optic nerve atrophy, choreographer and performer Mana Hashimoto has dedicated her life's work to exploring how the body exists in space with or without sight.
Trained in ballet, jazz and Graham technique, she has performed all over the world, from her native home in Japan to New York City's Metropolitan Museum of Art and Jacob's Pillow. Hashimoto is also the founder of Dance without Sight, a series of workshops designed to discover movement through touch, sound and smell.
Dance Magazine recently say down with Hashimoto to learn more about her process, and what it's like to be a bridge between the seen and unseen worlds.
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Online video game Fortnite is involved in serious controversy over its "emotes" dance feature. Even if you're not a gamer, this is a case choreographers should keep close tabs on. Here's why.
Let us quickly introduce you to Fortnite Battle Royale: The video game sprung up in September 2017 and has grown to insane levels of popularity. It's free to play and features 100 users duking it out to be the last person standing. But here's the catch: If you want to get ahead, you have to make in-game purchases, trading real money for V-Bucks, which you use to redeem things like weapons.
So what's it got to do with dance? A whole lot. One of Fortnite's most popular—and lucrative—features is its emotes, animated dances that users can purchase to perform on the battlefield. Many are taken directly from pop culture, and Fortnite's developer, Epic Games, is in the midst of a heated lawsuit regarding its Swipe It emote. After much public debate, rapper 2 Milly filed a suit last week claiming that Epic Games stole—and is now largely profiting from—the Milly Rock, a dance move he created and popularized, without his permission. Take a look:
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
I've been a fan of Jordan Isadore's for about a decade. His gorgeous, spine-contorting renditions of Christopher Williams' repertory are legendary, and for many years I had the privilege of making dances with him and producing his works through DanceNOW[NYC].
Over the last year or so, as he began winding down his performance career, Isadore began making odd, phenomenal objects: dribs of Labanotation scores rendered as hung mobiles, gorgeously crafted in stained glass and metal. The designs are stunning, imbued simultaneously with a hipster-nonsense contemporaneousness and reverence for dance history.
I spoke with Isadore about his retirement from the stage, and transition to crafting full time.
There's always that fateful day each year, usually in February or March, when ballet contracts are renewed. Dancers file into an office one by one, grab an envelope and sign their name on a nearby sheet of paper to signify the receipt of their fate. Inside that envelope is a contract for next season or a letter stating that their artistic contribution will no longer be needed. This yearly ritual is filled with anxiety and is usually followed by either celebratory frolicking or resumé writing.
Whenever I received my contract, I would throw up my hands joyfully knowing that I would get to spend one more year dancing. In 14 years at Boston Ballet, I never once looked at my pay rate when signing a contract. The thought of assessing my work through my salary never crossed my mind.
Watching Bohemian Rhapsody through the eyes of dancer, there's a certain element of the movie that's impossible to ignore: Rami Malek's physical performance of Freddie Mercury. The way he so completely embodies the nuances of the rock star is simply mind-blowing. We had to learn how he did it, so we called up Polly Bennett, the movement director who coached him through the entire process.
In a bit of serendipitous timing, while we were on the phone, she got a text from Malek that he had just been nominated for a Golden Globe. And during our chat, it became quite clear that she had obviously been a major part of that—more than we could have ever imagined.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
College can be hard on the body. Between late-night rehearsals, carrying backpacks around hilly campuses and long, sedentary study sessions, it's tough for dancers to give their bodies the care they need to prevent injury.
Here are the most common reasons college students get injured—and our top tips for prevention.
What makes big-time music artists and their collaborators think they can directly plagiarize the work of concert dance choreographers?
And, no, this time we're not talking about Beyoncé.
Last Wednesday, country artist Kelsea Ballerini performed her song "Miss Me More" at the Country Music Awards. The choreography by Nick Florez and R.J. Durell—which Taste of Country said "stole the show" and Billboard lauded as "elaborate"—features a group of dancers in white shirts and black pants performing with chairs onstage, often arranged in a semicircle. They move in quick canons, throw their heads back, and fling themselves in and out of their chairs.
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.