“This is the greatest show,” boasts a balletomane sitting next to me as I flip through my program waiting for America Dances! , Career Transition for Dancers’ 24^th anniversary jubilee and celebration to begin; and, with a presenting sponsor as Rolex and a roster filled with the world’s most legendary dancers, I couldn’t imagine anything less.

What does follow however, are New York City Ballet’s stunning Ashley Bouder (affectionately referred to by us young ballet-fanatics as “The Bouder”) and Andrew Veyette in the aforementioned Balanchine piece.  The pas de deux is a perfect way to salute to our dance heritage by mixing the classic choreography with the dynamic bodies and strength of a new generation of dancers whose leaps, jumps and arabesques seem to reach beyond the dance soldiers that preceded them.

Another stand-out performance (among the myriad presented) is from Lori Belilove & The Isadora Duncan Dance Company in The Dance of the Furies.  With strength and execution reminiscent (I imagine) of Isadora’s rich lyricism and tension, the movements depicts Rodin’s Gates of Hell, washed in flowing red fabric and abstraction.

The Lombard Twins provide their usual twist of multiplicity and talent with The Dance Concert.  Both Martin and Facundo are masters in the art of dancing from the inside out.  They clearly and passionately feel their movement, but making an audience sense the very same is something many young dancers lack.  Not here, though… Coined “free expression,” the twins, have the power to translate evocative movement into something that we all can enjoy.

Preceding the death-defying partnering of veteran Mark Stuart Eckstein and his beautiful partner, Miss Adealani Malia, are two young, talented dancers, barely four and a half feet tall, that delightfully surprise us all with a well-choreographed and highly entertaining salsa number.  Performing with such accuracy, such showmanship, such energy, such skill, these little future stars, Alexandra Gutkovitch and John Gaylan, are on point and are an absolute charm to watch!

Not much could top Mr. D’Amboise’s impromptu petite allegro, but Cedar Lake Contemporary Ballet comes close with Jason Kittelberger’s and Acacia Schachte’s performance of Cold Song.  The entire theater is hushed as they sweep the floor with poetic movement, permeating an icy chill that leaves us frozen in wonder.

Other performances included the Parkour group Bullettrun, the choreography of Ann Marie DeAngelo, SYTYCD choreographer/Sonya Tayeh Dance, the company of M. Stuart Dance Theatre, Tony Waag’s Tap City Youth Ensemble, The Street Beats Group,  excerpts from Bob Fosse’s Dancin’, and a Tribute to Duke Ellington (featuring Mercedes Ellington).

Sprinkled throughout the show are accolades.  Receiving the Career Transition for Dancers’ Award for Outstanding Contributions to the World of Dance are two very important philanthropist to the dance world, Lawrence Herbert (presented by Jock Soto) and  Lloyd E. Rigler of the Lawrence E. Deustsch Foundation (presented by Valerie Harper).  Presented by Desmond Richardson, The Rolex Dance Award is given in honor of our beloved Patrick Swayze.  His wife, Lisa Niemi Swayze, genially accepts the award with heartfelt grace in an audience full of friends and family.

And that seems par the course in the dance world…  making sure that Career Transition for Dancers not only celebrates our sparkling heritage, but our uplifting future that evening… It seems that the dance community will always find a way to inspire hope even in the most desperate of times, whether it’s with generous donations, audience cheers, scholarships, or simply with the art itself…  And that, surely, is the greatest thing of all.

iDANZ Critix Corner
Official Dance Review by Joey Lico

Check out more of Joey Lico’s writings on www.prodiligo.com.

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The movement in Romantic Pieces speaks to me about love  –the good, the bad and the ugly of it.  Dancer Elizabeth Brown enters the floor alone demonstrating pretty port de bras and leisured control.  A blend of contemporary and classic movement lends itself to the music of Anton Dvorak (played by Erik Carlson [violin] and Melody Fader [piano]).  Emery Le Crone and Andrea Spiridonakos (dancers from Miami City Ballet both joining NCB for the first time this evening) help complete the story.  The choreography changes from lyrically soft, to playful, to ridged within moments.  Each dancer executes virtuosity in not only technique, but in matters of the heart.

Magliore describes the score to Dreams as sound-scapes, which couldn’t be more accurate.  Three dancers lie on the floor swirling their hands in patterns that look like three children mapping out stars in the sky or foreign lands on a map.  Dancers, Le Crone, Brown and Madeline Deavenport perform choreography to whispers, clucks, and whirrs created by their own mouths.  What a triumph in concentration and artistry for these three!  Crafted with punctuated choreography and articulate hand movements, and, often, creepy and urgent murmurs, Dreams seems to illustrate more of a nightmare; but, it is transformative nonetheless.

The world premiere of All the Rage, choreographed by Royal Danish Ballet dancer, Constantine Baecher, is a vibrant visionary change of pace in the evening, with a new music commission for Martin Strauning (it’s worth noting the juxtaposition between him and Magliore as a choreographer turned composer).  This is the first piece showcasing the extraordinary dynamism of dancer, Lauren Toole.  Her battements snap strong and hard like a thick rubber band; the energy around her movement shows that her talent is what all the rage should be about.

Moments is a surprisingly sweet pas de deux between music and dance.  As Carlson delicately plays Salvatore Sciarrino’s Caprices No. 2 and 6 for violin, Toole soaks in the music with her movement.  Whispers from the violin make an unlikely but successful partner to Toole’s gloriously arched back and well-balanced plies en pointe.  Her port de bras wrap around the music like an embrace from a lost love:  desperately and tenderly holding and unwilling to let go.

The final piece of the evening, Echoes is like a game of Marco Polo played by the dance and the music.  Magliore explains that the music of Anton Webern is often only seconds long, but nonetheless enchanting; rather than overpower the music with choreography he chooses to chase it.  Each of the four pieces for piano and violin are followed by stark and architecturally composed movements.  This is the first time the entire company appears on the floor together, making it one of the more ambitious pieces of the night.  Despite its waning title, Echoes is filled with moments of splendid stillness and a resounding strength.

Miro Magliore’s New Chamber Ballet fills the room with ebullient movement and rich music.  One could expect nothing less from this composer turned choreographer.

Miro Magloire’s New Chamber Ballet, Photos by Kristin Lodoen Linder

iDANZ Critix Corner Official Dance Review by Joey Lico Performance: New Chamber Ballet Choreography: Miro Magliore Venue: City Center, New York City Performance Date: Friday, September 11, 2009 www.iDANZ.com

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