The evening opens with Drowntown.  Amazingly athletic and energetic, this is a powerhouse.  The dancers weave and dodge one another without missing a beat, yet join each other to prove a point at different times.   It is inspiring…  Imagine walking through Time Square at rush hour.  Watch out or you will get left in the dust!

Next on the program is Wraith. Danced by Michelle Pellizzon and Danielle Schulz, this piece is hauntingly beautiful.  With costumes by Tonatiuh Otero, they look like beautiful red Nymphs.  Showing their clean and pure technique, they dance in tune with each other ever so effortlessly.  Nymphs in a time of loss, they are still, however, hopeful for what is to come…  Beautiful!

Moving on to The Polarity, danced by Gierre Godley and Dillon Honiker, all I can say is WOW!!!!  Showstopper.  They both dance with power and masculinity; it is refreshing.  Throwing themselves on each other without a care in the world, they are out to kill!  I am immediately put in to the frame of thought of watching “The Matrix”, a wonderful fight scene with all the special effects coming to life right before me.  This (The Polarity) is wild abandon at it’s best!

The Missing, danced by Michelle Pellizon, is next and what a shocking surprise…  She is a revelation in this piece shaking, twisting, and contorting her body into oddly beautiful positions.  It’s really amazing. Merging her beautiful technique with the oddest of moves it is like watching a drug addict fight through withdrawal.  Happiness, sadness, longing, and cravings she is going through all the emotions right before your eyes.  I am happy to report she wins in the end!  Congrats!

And finally, Terminus, wraps up this wonderful evening.  Danced by the company, they save the best for last taking complete command of the stage and not being afraid of it.  The power of the dancers fill the floor bringing the audience to the edge of their seats.  Their movements are faster, sharper, and clean, as if to put the final stamp on the evening.  Wearing costumes by Keiko, they leave the audience wanting more and ready to stand up and join in!   Eryc Taylor Dance is one company not to be missed.

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance  Eryc Taylor Dance
Venue:  Joyce SoHo
Show Date:  November 13, 2010
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Well, what’s there not to say about Cedar Lake Contemporary Ballet?  A diverse repertory company of exquisite technical beasts would be dream and playground for any guest choreographer; or, so it seems, based on the three works on the bill (Sunday Again, Unit in Reaction, and Hubbub) for one of their evenings at the Joyce Theater.

The evening opens with Jo Stromgen’s Sunday Again, a lighthearted, whimsical portrayal of a collection of lovers all dealing with the usual feuds and qualms of being in a relationship paralleled to back and forth quality experienced in a tennis match.  Literally.  Props used include a tennis net, raquet, and plastic shuttlecocks that randomly appear from underneath clothing.  All this in place is a quaint and neat set-up for a perfectly boring piece.  However, Stromgen infuses stark humor via unexpected male/female moments of roughness, lesbian eroticism, and other social behaviors such as spitting and gossiping amongst themselves.  Overall, these nuances work well together in Strongen’s choreography to keep the audience in tune and alert to fleeting moments of wit.

The dancers shift into a much darker and somber mode in the next piece, Unit in Reaction, choreographed by Jacopo Godani.  In this adrenaline-driven suspenseful piece, the dancers seem to operate as if they are all apart of a machine, or better yet a group of lab rats under experimentation and our surveillance.  The dancers create luscious lines and move intricately between each other in breathtaking duet and solo work. Godani’s work digs beneath the surface and accentuates all that is juicy in this company and just uses technique as icing on the cake.

The evening closes with my favorite work, Alexander Ekman’s Hubbub.  Now although the concept of the piece has been done before (there is no such thing as a new idea) Ekman took it to a new level!  This is one of those pieces where no amount of words can do it justice.  You just have to see it for yourself.  But here are a few personal highlights:  the suspended typewriter, rhythmic breathing phrase, accumulation, and a perfectly cute duet performed by Nikemil Concepcion and Harumi Terayama in which we hear a recording of the dancers personal thoughts as they execute each step.  Hubbub is one of those pieces that is difficult to walk away not just liking, but also, finding yourself talking about for the next few days!

You’re probably wondering how I can critique Cedar Lake Contemporary Ballet and not highlight any dancers.  Simple.  They are all ridiculously good looking and beautiful artists.  So here we go: Jubal Battisti, Jon Bond, Nickemil Concepcion, Gwynenn Taylor Jones, Jason Kittelberger, Ana Maria Lucaciu, Navarra Novy-Williams, Oscar Ramos, Matthew Rich, Acacia Schachite, Harumi Terayama, Vania Doutel Vaz, Manuel Vignoulle, Ebony Williams, and Golan Yosef…  You Rock Fierce!

iDANZ Critix Corner
Official Dance Review by Simone Sobers
Performance:  Cedar Lake Contemporary Dance Company
Choreography:  Jo Stromgen, Jacopo Godani, Alexander Ekman
Venue:  The Joyce Theater, New York City 
Show Date:  Tuesday, October 26, 2010
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Sunday, Again, which premiered in Oslo in 2008, explores the combative nature of relationships using the slightly random metaphor of badminton. (Who among us doesn’t relate to badminton?) However, quite a few of us can relate to dysfunctional relationships and the emotional life of each couple is earnestly expressed with fluent, graceful lines and breathtaking partnering.  The opening duet between Jason Kittelberger and Acacia Schachte is particularly elegant.  Likewise, Harumi Terayama’s playful interlude with partner Jubal Battisti showcases her lightning feet and youthful vitality.  But while themes of loneliness and ostracism weave in and out, the piece never really comes together.  For all the exacting technique and effortless duets, one is left thinking, "But why should I care?"

The world of the second piece, Hofesh Shechter’s The Fools, contrasts sharply with Stromgen’s world of badminton and refined aggression.  Shechter’s darkly lit set creates a menacing atmosphere, and the opening sequence immediately catches your interest, with eight dancers, or Shadows, clothed in what appear to be black straitjackets, dancing wildly to a series of drumbeats.  Then the Fools enter:  seven characters in their underwear, hunched over, stepping deliberately in riveting slow motion.  By part two, the Fools are fully dressed in clone-like office wear, and the choreography becomes more stilted and mechanical to reflect their inner life.  Schechter’s choreography retains a sense of the unexpected, with breakouts by the Shadows interwoven with the Fool’s choreography, which, as the piece progresses, becomes more desperate and absurd.  Soloist Manuel Vignoulle steals the show with his gut-wrenching, athletic solo.

In the third and final piece, Didy Veldman’s frame of view, nine lithe, sinewy dancers glide between a series of three rather flimsy doors, designed by Miriam Buether. The doorways are meant both literally and figuratively as passageways to happiness and tragedy.  Though enjoyable overall, the ballet leans towards the latter half of the term "artsy-fartsy," due mostly to Veldman’s tendency to incorporate spoken word into the soundtrack, which in this case was distracting and annoying.  Still, several vignettes resonated deeply: the lonely, sexy ballerina dancing a duet with a faceless figure through a rubber-paneled door, a slow-motion fight where Terayama’s features and technique are used to maximum comic effect, and two lonely souls sharing a turtleneck in a lovely, pitiful duet.   frame of view had the most personality of the evening and offered the most humor, insight and catharsis.

Does Cedar Lake live up to the hype?  Not with this program, no.  But they certainly proved to be a risk-taking company full of beautiful, powerful dancers.  I am curious to see what their next steps will be.

 iDANZ Critix Corner
Official Dance Review by Molly Sorohan
Performance:  Cedar Lake Contemporary Ballet
Venue:  The Joyce Theater, New York City
Show Date:  November 2, 2010
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

In a triumphant return to the New York stage and Broadway, Matthew Bourne’s Swan Lake is a feast for the senses that sends you into the sky!

Mr. Bourne has introduced the great tale of Swan Lake in an innovative, inspiring, and entertaining new way.  No longer the stuffy and reserved version, Bourne’s production is refreshingly hilarious.  With tongue and cheek jabs at classical ballet, it feels strangely okay.  You almost feel as if you are watching a great John Waters film (Hairspray, Cry Baby, or Serial Mom).  Excellently balanced with his comedic side, Bourne’s choreography for Swan Lake is a brilliantly creative, demanding piece of work, a wicked challenge every dancer on that stage grab holds with committed fervor.  The dancers are extremely talented and strong, and don’t lack in technique in the least bit.  They are completely comfortable and capable in all the roles, which makes the tongue and cheek aspect so believable.

The lead characters, Dominic North (The Prince) and Richard Winsor (The Swan/ Stranger), are mind-blowing.  With their beautiful and fluid technique, these men give a commanding performance and convincing display in the portrayal of their characters. They would definitely get my Oscar for best actor of the year.  Equally amazing in their roles are Madelaine Brennan (The Girlfriend), completely hysterical, she would be a perfect match for Nathan Lane in a New Broadway Show, and Nina Goldman (The Queen) who is regal and beautiful!  However, once the Swan’s make their appearance, all bets are off and sign-me up to join the flock!!!! The Swans are all amazing and believable.  They lift the roof off of City Center, with the flapping of their wings, and soar right out of the theater!

This production is equally visually stunning; with costumes and set by Lez Brotherston, you immediately fill as if you have just walked into Dylan’s Candy Bar and can’t wait to dive in and try all the flavors.  An utter feast for the eyes, I am already hard at work trying to sample every morsel watching the ballet unfold.  Of course the score by Pyotr llyich Tchaikovsky is beautiful and does not disappoint.  It compliments Bourne’s version surprisingly perfect, like a great bottle of wine at your favorite Italian restaurant.  You very quickly forget you are listening to one of classical music’s most beloved ballets and it sounds so current!

Overall, Matthew Bourne’s Swan Lake is a complete revelation.  It is a great introduction to the dance world for anyone who would like to take a peak.  Absolutely better than a movie on a Friday night, head over to City Center and see live performance, dance, and theater at a level that is simply brilliant.

Photography by Bill Cooper

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance:  Matthew Bourne’s Swan Lake
Venue:  City Center, New York City
Show Date:  October 15, 2010, 8pm
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

All week the city has been buzzing with visiting dancers from top international dance schools.  Recently, I’ve been encountering the YAGP people quite a bit around the city in classes at Peridance and Steps.  Now, I get to see them perform at New York City Center for the gala performance.  YAGP attracts dance school personnel from top schools to recruit and award scholarships.

Since its birth eleven years ago, the YAGP has grown into being the largest competition for student ballet scholarships worldwide.  Dubbed the “internet of the dance world” for connecting a diverse population of dancers around the globe, YAGP became a member of the Conseil International de la Danse (CID) by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2005.  More than 25,000 dancers worldwide have participated in YAGP workshops, competitions and audition classes, and more than 250 YAGP alumni dance with major companies around the world.  Most outstandingly, over two million dollars in YAGP scholarship funds have been contributed to dance schools worldwide to aid in furthering dance education.

Full of energy and witty phrases, Peter Sagal from Wait Wait…Don’t Tell Me! on NPR hosts this year’s 2010 YAGP Gala.  He even attempts to demonstrate some of his own knowledge and ballet technique, amusing the audience by showing off each ballet foot position and his favorite steps.  Peter Sagal hysterically announces the start of the show doing a penché while holding the mic in one hand and grabbing onto the curtain for support with the other before dashing away as the music begins.

The evening opens with a cute cowboy dance by a ten year old boy.  Apparently not being from New York City he probably is unaware that it is illegal to have toy guns that appear real.  Perhaps his holsters do indeed contain real guns which he brandishes about between double tours.

A youthful girl with long limbs performs a contemporary dance number, “Wild Horses.”   Although, perhaps a bit too provocative in short shorts for her age, she certainly has lovely split leaps and a nice trot.  Many of the young dancers performing have incredible technique, but their expressions, though plastered on with practice, cloud with anxiety and pressure as they prepare before a turn or other virtuosic display.

A twelve year old boy from Japan delightfully sticks out in his playful routine with a mop.  The story is typical:  a cleaning man becomes playful and starts dancing around with his mop, only to return to cleaning.  Untypical is his expressiveness, which is endearing as he falsely prepares for turns, teasing the trick-hungry audience.  Another twelve year old from Italy displays exquisite line, interspersing contemporary movements with clean classical technique, easily whipping out double sauté basque turns and more than five pirouettes.

Receiving the honor of Best School, The Orlando Ballet School presents an exceptional all male quartet performed to an Enrique Iglesias tune.  The movement of the four boys, so dramatic in their skin-tight skinny jeans along with the music, makes a few audience members erupt into laughter, but by the conclusion the audience concurred with the judges that these dancers have had some wonderful training.  Their lines, port de bras and technique are breathtaking… though choreographically, the dance could have been performed as a solo except for the sappy moments of arms around each other and back-patting.

With a costume obviously inspired by the dress worn by Bjork at the Grammy’s, a bronze medalist rail-thin fifteen year old girl of China, Shang Yao Qian, performs an interesting contemporary solo entitled “Black Wing.”   This awesomely awkward girl is adorned with long limbs and beautiful “cashew” feet, a perfect representation of an ugly duckling struggling to grow into a graceful swan. 

Silver medalist, Zhao Wan Ting, explodes into sensual gestural choreography, alternating with walking, almost strutting sequences.  Grand Prix champion, William Bracewell performs with calm delicious port de bras.  Although after seeing a few hops, I wonder if his performance had been better during competition rounds; but, I forgive him quickly as he elegantly arabesques.  Besides, this is an educational competition program whose purpose is not to find perfection, but to aid in its perpetual pursuit.

Next on the program, I am delighted to see Russel Ferguson, champion from So You Think You Can Dance, take the stage to show us what krumping is all about.  In this special surprise guest artist appearance, Russel Ferguson wobbles his rotating legs in and out while simultaneously popping his chest.  His incredible control shines through his isolations.

Peter Sagal returns to preface the finale number, in which a large number of students dance together.  He explains how Youth American Grand Prix brings together over 2,000 dancers from around the world to compete and study dance for one week together, in a sense, creating a “UN of dance.”  All practiced soloists, the young dancers still try to outshine each other…  Despite the chorus staging, they do not dance together (which could be a result of short rehearsal time).  It is, however, mesmerizing to see so many young dancers take the stage at one time and finish in an elaborate tableau.

Intermission sends streams of dancers, parents, teachers and industry people into the lobby where refreshments of champagne and chocolate covered strawberries are served to celebrate the conclusion of this year’s YAGP. The intermission is extended for the socializing to take place.  Everyone is abuzz with excitement about the talent just witnessed and the awaited post-intermission performances of the more celebrated, professional dancers.

The second half of the Gala performance features today’s stars, YAGP alumni that now perform with top dance companies from around the world.

Opening is the Act II pas de deux from Giselle, danced by Paris Opera Ballet ‘s Mathilde Froustey and Mathias Heyman, the perfect pair to match old classical style. The couple gives generous lovely port de bras.  In The Moment is a contemporary piece with ABT’s Michelle Wiles and Tulsa Ballet’s Wang Yi dancing round a chair, accompanied by a live on stage singer, Aurora Barnes.  Yearning, sharp and contrasting movement choreographically builds the urgency of this dance.

Another passionate pas de deux is with Isabella Boylston-what extension!- and Blaine Hoven of ABT in Sognato, using music by Schubert.  Following is another pas de deux, Parting, choreographed by Yuri Smekalove, who is partnered by Yevgenia Obraztsova, both of the Mariinsky Ballet.  It is Yevgenia Obraztsova’s New York debut, and she is welcomed with an abundance of cheers and applause.  Joaquin De Luz of NYCB dances Five Variations on a Theme with music by Bach.  With lovely sustained attitudes and a casual air, Joaquin De Luz delivers magnificence.

Ballroom World Champions Slavik Kryklyvyy and Anna Melnikova tear the stage apart in Jive eliciting many screams of excitement from the audience. The number includes standard ballroom elements- exposed skin, undulating hips and accentuating air bites.  The step-tap looks stunning with the right degree of foot bevel, though the over-twisting of the wrists I find almost grotesque.

From American Ballet Theatre is Joseph Gorak with his billowy shirt adding fluidity to his arm movements in the solo to Nocturne, music by Chopin.

Rubinald Pronk of Morphoses dances L’effleure as a solo because his partner, Shirley Esseboom of Nederlands Dans Theater, is ‘stuck in traffic’ according to the announcement by Peter Sagal.  Rubinald Pronk is a dramatic presence on stage-his fluid portebras and red flowing pants look like spilling blood.  Gorgeous music by Vivaldi seems to pour through Rubinald Pronk- undulating the torso, articulating through his limbs, lengthening into breathtaking lines.  He is so stunning by himself, one easily forgets that Rubinald Pronk is dancing what is supposed to be a duet, not a solo.  A rose stays delicately in his mouth the entire dance, only to drop at the last moment.

Donizetti,choreographed by Manuel Legris, is performed by Mathilde Froustey and Mathias Heyman, the only couple to do more than one spot on the Gala program. Joaquin De Luz returns to the stage with Tiler Peck to perform Balanchine’s Stars and Stripes.  The American classic makes the audience roar up in applause, and the dancing couple are radiant, bursting with energy.

Polina Seminova of the Berlin State Opera Ballet and Marcelo Gomes of American Ballet Theatre dance the pas de deux from Manon, an amazingly executed, beautifully portrayed love scene.

Closing this fabulous evening is Sarah Lamb and Sergei Polunin from the Royal Ballet with the pas de deux from Diana and Acteon. Sergei Polunin delights the crowd with amazing effortless jumps.

YAGP proves again to be the must see ballet performance. Bringing world premieres of new dance work and the world’s best dance talent to one stage, YAGP Gala is a delightful highlight to a wonderful program that offers so many opportunities to young dancers.

iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: Youth America Grand Prix 2010 Gala “Stars of Today Meet the Stars of Tomorrow”
Venue: New York City Center, New York City
Performance Date: Friday, March 26, 2010
www.iDANZ.com

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!
The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

The Richmond Ballet’s performance at The Joyce Theater on Wednesday night achieves a feat which few ballet companies can successfully pull off.  They manage to master the classical ballet aesthetic of clean, long lines in the first piece of the night, Violin, while demonstrating their contemporary and modern movement mastery with Misa Criolla.  The final piece of the evening, Vestiges is a fusion of the dancers’ ballet and modern dance talents.  As the dance world progresses, we continue to see the necessity for dancers to be trained in a variety of dance forms.  It is more common now for ballet dancers to be versatile in modern dance and vice versa. The major difference between the Richmond Ballet and other companies is the dancers’ ability to appear comfortable while performing dance styles long considered out of the ballet aesthetic element.

The first piece of the night, Violin, which was choreographed by Val Caniparoli, features ten dancers, five women and five men. The dancers are clad in simple hunter green costumes, leotards for the women, tights for the men.  The simplicity of the costumes coupled with the lack of storyline creates a modernist feel to the piece.  Heinrich Ignaz Franz Biber provides the compelling violin music.  The men begin the dance in a ritualistic circular formation. Their movements are powerful and full of energy.  The dancers bend their wrists and place their arms in very specific shapes, adding to the rich texture of the choreography.  The lights dim and the women take their position in place of the men in the center of the stage.  The women all appear happy and upbeat as they fly through the air.  My favorite part of the performance is the seamless duets which are interspersed throughout the piece. The dancers move extremely well together, whether they are dancing as a group, in a trio, or in a duet.  I thoroughly enjoy watching Maggie Small because of her quickness and her flawless technique.  Thomas Ragland is also a thrill to watch.  It is evident that the dancers feel each other when they move together onstage.  Bravo! 

After intermission, we are introduced to the world of Misa Criolla.  In this piece choreographed by William Soleau, the dancers are wearing what appears to be peasant garb; the women are wearing shawls and dresses to their ankles.  The music gives the piece an archaic feel to it, with piercing operatic voices strewn in.  According to the program, this piece is about the ability of communities to collectively rise up above adversity and join forces in a shared bond of friendship.  The stage is bordered by wooden benches which the dancers sit, dance, and move around the stage.   With elements of various folk dances thrown into the mix, the dancers couple up and then change partners throughout the duration of the piece.  For example, the dancers hold hands in a circle and then run into the middle, reminiscent of the Israeli folk dance, the Hora.  Lauren Breen and Cecile Tuzzii really stand out in this piece.  It is their stage presence and acting ability which really draws my attention to them. Although Misa Criolla is wonderfully constructed, it feels as if it drags on too long at points.

The last piece of the night, Vestiges by Colin Connor, is probably my favorite piece of the program.  The piece reminds me of musical theater because of the dramatic costumes the dancers wear, the use of the lighting, and the way the music tells a story with its melody.  The dancers portray dramatic characters, adding to the overall theatrics of the dance.  The lifts are executed seamlessly, even when one of the women dancers lifts a male dancer.  Valerie Tellmann is the standout in this piece with her unparalleled physicality and fearlessness.

This is the first time I’ve seen the Richmond Ballet and I must say that I am impressed with Artistic Director, Stoner Winslett.  The task of presenting such a versatile repertoire is not an easy one, but Ms. Winslett has shown us that she is capable of doing so.  The dancers of Richmond Ballet are extremely current and relevant dancers who not only are up-to-date on all of the trends in the dance world, but they are also setting their own.

iDANZ Critix Corner
Official Dance Review by Amanda Keller 
Performance: Richmond Ballet 
Venue: The Joyce Theater
Show Date:  Wednesday, April 8, 2010
www.iDANZ.com

 iDANZ Supports Doctors Without Borders
in their Haiti Earthquake Relief Efforts.

MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.

Can you please help them provide medicine, surgeons, nurses,
and supplies to victims in this crisis?
Click Here to Send a Direct Donation to Doctors Without Borders

The iDANZ Commitment
For every new person
who signs-up to be a member of the
iDANZ Social Network, iDANZ will donate $1 to
Doctors Without Borders January 18 – May 1.
Go to www.iDANZ.com To help save lives by 
Becoming a Member of iDANZ Today!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!

The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Corella Ballet Castilla y Leon’s weekend at City Center is a ballet feast.  Serving up everything from a tidbit of Swan Lake to an exciting new work from ballet’s newest it-boy Christopher Wheeldon to former ABT stars, Corella’s brand new company shows that it has the mettle to not only bring more ballet to Spain, but to teach us Americans a thing or two as well.

Corella’s own choreography, String Sextet, starts us off on a neo-classical journey through tight shifts in space and fiery technique, best exemplified by the diminutive Kazuko Omori and gangly Joseph Gatti.  She is light and precise in a innovative jeté jump where she is pulled magnetically back to her starting point.  Gatti is youthful, confident, and musical, working well within Tchaikovsky’s mesmerizing score.

However, the most technically exciting of the evening is Herman Cornejo. A former dancer with American Ballet Theatre, Cornejo steals the show in the Black Swan pas de duex.  His jumps are so buoyant, his turns so spot-on that several audible whistles are heard from the balletomanes sitting behind me.  He pulls one pirouette series, ending in such a beautiful plié dévelopé, it makes me shiver.

We first see dancing from Corella himself in a duet for him and his sister Carmen, choreographed by Maria Pages.  Solea is a tribute to Flamenco’s rich history in Spain and Carmen flies through fiery flamencoesque foot work en pointe while Angel slices through jumps with multiple beats.  They trade off and play with traditional flamenco structures and rhythms in a satisfying re-interpretation of the form.  One sees here why Angel has been such an audience favorite for the last decade-plus.  He is a ball of energy, every move bursting with such finesse and charisma, one can’t help but love him.

Finally, Carmen Corella impresses me again as the first soloist in Wheeldon’s relatively new work Danse a la Grand Vitesse.  She is clad, as are the rest of the females, in a leotard with vertical black stripes and nude pointe shoes.  This look emphasizes her already long torso, and as she morphs through Wheeldon’s contorted shapes, she maintains a weird and fluid grace that is transcendent.  I love Wheeldon’s ability to move static shapes through space in a way that questions the resiliency of the human form.  His women are constantly spinning in the arms of their men.  Down is up and up is down in this rocking and energetic new piece.

One hopes that Corella and Wheeldon, two of ballet’s favorite young men, will continue to bring new ballet to the world stage.

iDANZ Critix Corner
Official Dance Review by Meghan Frederick
Performance:  Corella Ballet Castilla y Leon
Choreography: Angel Corella, Christopher Wheeldon, Maria Pages, Leonid Lavrovsky, 
Venue:  City Center
Show Date:  March 19th, 2010
www.iDANZ.com

iDANZ Supports Doctors Without Borders
in their Haiti Earthquake Relief Efforts.

MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.

Can you please help them provide medicine, surgeons, nurses,
and supplies to victims in this crisis?
Click Here to Send a Direct Donation to Doctors Without Borders

The iDANZ Commitment
For every new person
who signs-up to be a member of the
iDANZ Social Network, iDANZ will donate $1 to
Doctors Without Borders January 18 – April 1.
Go to www.iDANZ.com To help save lives by 
Becoming a Member of iDANZ Today!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!

The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

It’s been over fifteen years since the Lyons Opera Ballet graced the stage of the Joyce Theater. Now back with a very impressive line up of works by Merce Cunningham, William Forsythe, and Maguy Marin; the Lyons Opera Ballet company’s performance is well worth the wait!

With a program of such riveting and renowned choreographers coupled with beautiful dancers you can only expect an amazing show.  Lyons Opera Ballet company is a breath of fresh air to the ballet scene.  This program really highlights the dancers’ versatility, sound technique, and artistry.  It is a quite a relief to see classic works that allow you to focus solely on the beauty of the dancers’ performance.

The show opens with Cunningham’s Beach Birds, a beautiful work depicting the physical nature and behavior of birds.  This wonderfully crafted piece fits very nicely on the well-sculpted, supple bodies of the company.  They each had a way of softening their strong lines to fully portray a birdlike quality. The dancers move with such poise and grace that the only image that comes to mind is…yes…birds!

Next in line is William Forsythe’s Duo, performed by Dorothee’ Delabie, and Amandine Francois.  Two words to describe this duet: fiercely fabulous!  Aside from the wonderfully sensual and athletic Forsythe vocabulary, these two women really eat up this duet and leave you in sheer awe of their cool and seamless performance.  Having seen very little of Forsythe’s work my feeling at the end of the piece is one of pure inspiration.

The evening concludes on a climatic note with Maguy Marin’s Grosse Fuge.  This is one of those dances that leave you with a newfound respect for dancers and our craft.  In this piece, set to Beethoven’s Grosse Fuge, Marin develops an eccentric vocabulary that personifies each and every part of the music.  Marin’s ability to make the audience see what they’re hearing is what makes this dance so euphoric and visually orgasmic!  The dancers relentlessly push alongside Beethoven’s driving melodies until the dance fully exhausts them.  Grosse Fuge is definitely a must-see if you’ve ever questioned the athleticism of dance.

There’s nothing better than seeing a beautifully diverse group of dancers show their versatility in style and technique in one show.  If you’re looking for a combination of stunning choreography and amazing dancers then keep your eye out for Lyons Opera Ballet.  I personally can’t wait to see what’s in store for their next season.

All photos © Michel Cavalca

iDANZ Critix Corner 
Official Dance Review by Simone Sobers
Performance:  Lyons Opera Ballet
Choreography:  William Forsythe, Merce Cunningham, Maguy Marin
Venue:  Joyce Theater
Show Date:  Tuesday, March 9, 2010
www.iDANZ.com

iDANZ Supports Doctors Without Borders
in their Haiti Earthquake Relief Efforts.

MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.

Can you please help them provide medicine, surgeons, nurses,
and supplies to victims in this crisis?
Click Here to Send a Direct Donation to Doctors Without Borders

The iDANZ Commitment
For every new person
who signs-up to be a member of the
iDANZ Social Network, iDANZ will donate $1 to
Doctors Without Borders January 18 – April 1.
Go to www.iDANZ.com To help save lives by 
Becoming a Member of iDANZ Today!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!

The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Győr National Ballet of Hungary exhibits a powerful cultural force in “A Stravinsky Evening” at The Joyce Theater.  The evening is composed of two ballets that have powerful messages involving human experience:  Petrushka, which commemorates the 20th anniversary of the fall of communism and, Rite of Spring, that documents a human sacrifice ritual.  Intense music brings out intense dancing in both works.  Though thematically similar, the two ballets are uniquely transforming.

Petrushka depicts the "little man" struggling to survive a communist society, living under the rule of a totalitarian regime.  Much of the dancing is done on the floor, the dancers mimicking swimming strokes, as if suppressed to the ultimate low by their government and struggling to stay afloat.  The leader tromps about, stomping on any individual that fails to meet standards.  The characters truly come to life on stage, presenting a very relevant reenactment of history. Petrushka is a civilian who expresses ideas that separate him from the others.  The powerful ruler or so-called “Magician” demonstrates his superiority, menacing in each movement.  The chorus dancers are the uncaring mob repeating meaningless sequences mindlessly, servants to a domineering commander.  Though appropriately pedestrian in some movement, the dancers encapsulate spirits of individuals, making the drama both haunting and enlightening.  Dance becomes a metaphorical language for reenacting a cruel totalitarian government and its destruction of the "little man."   It is incredibly inspiring to see dance that interprets societal change, thereby promoting positive change in a non-militant way.

Rite of Spring is equally riveting, with choreography by Attila Kun, depicting what he describes as a “sacrifice that redeems human beings and transforms life.”  Initially, I confuse the subject of Rite of Spring as being about a mating ritual or the institution of marriage; then, I realize, it is about a different type of human sacrifice.

Another orderly society presents itself, then trouble seems to arise with one individual.  Many couples begin singling out the single person to become the sacrificial gift.  I relate to the single woman onstage, the victim of society’s customs.  It seems she is chosen by the crowd of couples as the innocent fresh meat- the perfect sacrifice and is also victimized due to lack of a "male protector."  The white costumes show off the shapes of the dancers, and renders them blameless as they methodically perform the accepted ritual.

The Stravinsky program is an excellent choice for a mature audience.  Social equality is evident in dancing where women partner other women, and men, proving themselves to be capable and strong. Such choreographic choices are in stride with ways of the future, as women are gaining respect in societies for their contributions other than role of mate and mother.  The humanity of the dancers is appealing, and though the company seems very unified culturally, they have a nice range of shapes and sizes. Győr National Ballet has the gift of beautiful storytelling, a gift of presenting history that is difficult to tell yet important to recognize, and conveys it powerfully through dancing.

All photos © Béla Szabó

iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: Győr National Ballet: A Stravinsky Evening
Choreography: Attila Kun, Dmitrij Simkin, James Sutherland
Venue: The Joyce Theater, New York
Performance Date:  January 28, 2010
www.iDANZ.com

iDANZ Supports Doctors Without Borders
in their Haiti Earthquake Relief Efforts.

MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.

Can you please help them provide medicine, surgeons, nurses,
and supplies to victims in this crisis?
Click Here to Send a Direct Donation to Doctors Without Borders

The iDANZ Commitment
For every new person who signs-up to be a member of the
iDANZ Social Network, iDANZ will donate $1 to
Doctors Without Borders January 18 – March 1.
Go to www.iDANZ.com To help save lives by
Becoming a Member of iDANZ Today!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member
of iDANZ.com Today!

The More Members We Have, The More We Can
Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!

Share on Facebook

Though I’m about to see several very professional companies at the NY Skirball Center, the energy feels more like a dance competition than a performance.  There’s intensity, discussion in between pieces and altogether a "more real than nervous for the first day of kindergarten" tight-lipped thing happening.  Instantly Dance Gotham feels like a representation of how dance is formed – through communicating and vitality.  The following four companies stood out above the other four who performed…

John-Mark Owens’ Vespers, featuring Ramona Kelly and Adrian Silver, brings vitality and life into pointe work that seems void of actual "work."  The pair’s mesmerizing duet marries grace and athleticism in a world that seems free of sharp angles.  What begins as a classically diminutive female character at the whim of the hulking male character becomes a playground for push and pull between the pair.  Just as Kelly’s strength grows beyond a classical female ballet role, Silver’s grace grows beyond a classical male ballet role.  Offering one another’s bodies as landscapes, the piece exudes infinite sensitivity.  They achieve towering shapes regardless of Kelly’s treacherous toes.  Kelly eventually abandons Silver as he lays motionless on the stage.  Owens manages to take the achingly beautiful essence of ballet to a modern place where grace does not translate to a lack of strength. 

The Dash Ensemble’s Sundowning, with choreography by Gregory Dolbashian, is beautifully enlivened by Christopher Ralph and Alexandra Johnston.  Johnston takes the focus initially with movements similar to a teenage girl donning high heals for the first time. With mannequin-esque control of her torso, her feet seem immobilized by the stage teetering one half-inch above the marley.  This focus transcends the entire piece and allows the audience to know that work is happening, that the physical bodies on the stage must exert energy to please the eyes that have marched in looking for a reason to stay open.  This is not to say that the work feels forced.  The pairing soars and connects with subtlety that softens the garish contrast of their bright yellow and purple shirts.  Power shifts flow seamlessly as their awareness of their strength is matched by the quietude of their artistry.  Ralph romances his explosiveness with lingering moments of stillness.  He flows so easily between these extremes while wearing slippery socks that the rowdy room is void of even a whisper.

Ralph appears once more in Nicholas Andre Dance’s Until Blue with choreography by Nick Ross.  Joined by five other dancers Ralph athletic movement quality shines so brightly he’s easily recognizable from earlier in the evening.  The sextet proves that bike shorts can be made beautiful when donned by the right bodies.  With just four dancers on stage unison quickly breaks into dueling duets whose energy encourages the opposite pairing.  With the six performers on stage, the energy churns like a tornado that is worth watching without that threatening deathlike quality pervading.  They forge harmonies as opposed to dissonant chords.

Camille A. Brown’s Mary proves that words never need leave the body to communicate if that body has the head to toe dexterity of Brown.  Brown has the enigmatic ability to reach the entire audience while making you feel like an audience of one.  With her full body sign language, Brown is like a body of water oozing across the stage, navigating moments of current, riding the forces of restraint and rising beyond floods.  To watch her is to feel attached both physically and emotionally to her journey.  I feel my body shift in its seat as if I can become closer to Brown by doing so.  Truly possessive of a star quality the room seems to shine brighter because of her light.  As the true highlight of Dance Gotham Brown’s three minutes would have been reason enough to travel to the NYU Skirball Center.

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance:  Dance Gotham
Venue: NYU Skirball Center
Show Date: January 8, 2010
www.iDANZ.com

iDANZ Supports Doctors Without Borders



in their Haiti Relief Efforts. 
MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency response to the Haiti/earthquake disaster.  Can you please help them provide medicine, surgeons, nurses, and supplies to victims in this crisis?
For every new person who signs-up to be a member of the
iDANZ Social Network, iDANZ will donate $1 to
Doctors Without Borders January 18 – 31. 

Join Today. Make A Difference.  It’s FREE!

Have You Seen the iDANZ Social Network?

Click Here To Become a Member of iDANZ.com Today!
The More Members We Have,
The More We Can Make a Difference.
It’s Free!
iDANZ – The Social Network Where Dancers Live!
Want to stay connected to iDANZ?  Join our network
using the following services:

Share on Facebook