Scottish Ballet shows a unique behind-the-scenes look at David Dawson’s visionary new production of Swan Lake for World Ballet Day 2015. Scottish Ballet’s first re-imagining of this classic ballet in over 20 years to premiere spring 2016. Taking the format of the successful Uncut series, this is an exclusive peek  into the rehearsal studio with David Dawson as he creates his visceral and daring interpretation of this iconic ballet on Scottish Ballet Principal Dancers Sophie Martin and Christopher Harrison.

Scottish Ballet’s Swan Lake

His Majesty’s Theatre

April 27 – 30, 2016

Complexions Contemporary Ballet makes it “sensationally, jaw-droppingly clear that we live in the age of the super dancer, at a time when technical virtuosity is being redefined as an expressive state” (Dance Magazine). Under the artistic direction of Dwight Rhoden and Desmond Richardson, Complexions continues to lead the way with its unprecedented approach to contemporary ballet. For its Joyce season, the company performs the world premiere of an evening-length work by Rhoden—a provocative romance exploring dark desires, beauty, dominance, obsession and control, all set to an eclectic musical mash-up ranging from Tchaikovsky and bebop to rap and trance. Also on tap: a world premiere set to Metallica; a work about unrequited love set to Bach; and the debut of the company’s Icon Series, honoring Maya Angelou and featuring a performance by Desmond Richardson and a special guest.

Photo: Rachel Neville

Program A:

Ballad Unto…, Approximate Sonata,

Cryin’ to Cry Out, Imprint/Maya, Strum

Nov 17, 18 & 22 at 7:30pm

Nov 19, 20 & 21 at 8pm

Photo: Rachel Neville

Program B:

Chronicle (World Premiere) –

NOTE: Full evening work

ACT 1 – WHEN HELL FREEZES OVER – (World Premiere)

ACT 2 – MERCY (2009)

Nov 24, 25 & 29 at 7:30pm

Nov 27 & 28 at 8pm

Photo: Rachel Neville

Program C:

Ballad Unto, Strum

Nov 21, 22, 28 & 29 at 2pm

 175 Eighth Ave

(& 19th St.)

New York, NY 10011

(212) 691-9740

Tickets start at $10!

Call JoyceCharge at 212-242-0800 for $10 tickets.

All other tickets can be purchased online

Ballet Memphis’ Steven McMahon (front) in Julia Adam’s ‘Devil’s Fruit.’ Photo: © Ari Denison

I was excited to hear that Ballet Memphis was to appear for the first time in eight years at the Joyce Theater, Oct 27 – Nov 1, 2015. Being from Mississippi and having dance with Thalia Mara’s Jackson Ballet I wanted to see how ballet was thriving in the Deep South. It was Thalia Mara who was so instrumental in securing Jackson as the host city for the USA International Ballet Competition…

Ballet Memphis was founded by Dorothy Gunther Pugh in 1986 with only two dancers and a budget of $75,000. Now in its 29^th year the company employs 32 dancers and has a budget of more than $4.4 million. Ballet Memphis is also preparing to build a new multi-million administrative and studio space in the heart of Memphis’ arts and theater district.

Ballet Memphis in Steven McMahon’s ‘Confluence’. Photo: © Andrea Zucker

Ballet Memphis commissioned and created all six works shown during its Joyce engagement. I was able to attend Program B which feature Matthew Neenan’s Water of the Flowery Mill (2011); Julia Adam’s Devil’s Fruit (2013); Politics created in 2014 by Ballet Memphis Company member Rafael Ferreras Jr; and Confluence created in 2012 by Ballet Memphis Artistic Associate and Company member Steven McMahon.

The evening opened with Steven McMahon’s Confluence whose score ranged from the Largo movement of Dvorak’s New World Symphony, Mahalia Jackson singing In the Upper Room and Marvis Staples performing Roebuck Staples’ Don’t Knock.

Ballet Memphis in Steven McMahon’s ‘Confluence’. Photo: © Andrea Zucker

Virginia Pilgrim Ramey is seen standing in silence. With the opening notes of Dvorak’s New World Symphony Ms. Ramey begins to move. First an arm is raised followed by a slight shift of weight in her body.

This is the first of what appears to be 3 sections to this piece. The dancers performed with exuberance and wide smiles which after a minute or two seemed rather forced. I found the work or least the first section of the work a tad bit too saccharine for my tastes.,

Ballet Memphis in Steven McMahon’s ‘Confluence’. Photo: © Andrea Zucke

Ms. Ramey, who is a tall and lyrically gifted dancer, would quickly enter the stage to weave in and out of the nine dancers, but, just as quickly as she appeared she would exit. She is an exceptional dancer; there is a majesty to her dancing that cannot be denied. I kept hoping for an extended solo in which Mr. Ramey could truly wow us with her dancing…but sadly it was not to be…

Where the piece came alive and really thrived was when the gospel voices of Ms. Jackson and Ms. Staples were heard. The piece quickly lost the saccharine feel from the first section and developed a soul, a voice of its own.

Steven McMahon’s Confluence is not a bad work but it does feel as if it’s two different pieces that have been welded together in order to call it one work. The first section musically is not the least bit relatable to the other two sections. Even the way the dancers performed the first section, with forced smiles a little too no depth of feelings is a complete 180 to the heart-felt and emotional performances the dancers gave the two sections set to gospel music. In total the score is confusing and the sudden transition from Dvorak’s New World Symphony to the gospel vocals of Mahalia Jackson and Marvis Staples is overly harsh and makes evident just how un-related the two styles of music are to each other…

Ballet Memphis’ Crystal Brothers & Rafael Ferreras Jr. in Matthew Neenan’s ‘Water of the Flowery Mill.’ Photo: ©Andrea Zucker

The inspiration behind Matthew Neenan’s Water of the Flowery Mill was the artwork of the émigré painter, Arshille Gorky. The work’s title comes from Mr. Gorky’s 1944 painting Water of the Flowery Mill, now hanging in the Metropolitan Museum of Art here in NYC.

Mr. Gorky’s paintings are noted for his use of color and abstraction and Bruce Bul’s costumes beautifully reflected both. The score was three sentimental pieces by Tchaikovsky. Now when you tie all together, Mr. Neenan’s choreography, Bruce Bul’s colorful costumes with the score …well, the end result was a lovely work I would like to see again.

Ballet Memphis’ Kendall G. Britt Jr. (left) in Julia Adam’s ‘Devil’s Fruit.’ Photo: © Ari Denison

Julia Adam’s Devil Fruit was just odd but in a fascinating sort of way. Devil’s Fruit is Ms. Adam’s second piece for Ballet Memphis and is the product of the company’s River Project series. In this work Ms.Adam explores the flora and fauna found alongside the Mississippi River, specifically the vast and intricate underground network of mushrooms. Ms. Adam’s was inspired by botanical photos of the fungi and the sheltering quality they possess. Artist Stephanie Crosby created original botanical paintings that were projected throughout the piece.

Christine Darch must be commended on her costumes…At the very beginning of the work Hideko Karasawa is seen lying in awkward position on the floor… she slowly stands and steps into a freestanding but still wearable piece of art or sculpture…it a beautiful white gown with green fauna and foliage flowing down the back. Ms. Karasawa shows unquestionable grace as she glides across the stage.

Ballet Memphis’ Hideko Karasawa in Julia Adam’s ‘Devil’s Fruit.’ Photo: ©Ari Denison

According to the program notes, Ms. Adam approached this work as a tripartite positioning of the mushroom, the science, the pagan mythology and the mind altering power of the mushroom to initiate one into the mysteries of the divine.

As I stated previously Ms. Adam’s Devil’s Fruit was an odd little piece but it did have some beautiful imagery with the combination of Ms. Adam’s choreography, Ms. Darch’s costumes and Ms. Crosby’s visuals….

Rafael Ferreras’ Politics was a work that seemed insure of what it exactly its statement was! Eight women wearing black pant suits are seen on stage; four are wearing toe-shoes and proceed to dance en pointe where another four are wearing sneakers and are performing a style of hip-hop known as Memphis jookin’.

Ballet Memphis dancers and local jookers in Rafael Ferreras’ ‘Politics.’ Photo: ©Ari Denison

The score was a mix of Bach’s Passacaglia and Fugue in C Major, the Brandenburg Concerto in C Major and Moses Hogan’s Elijah Rock beautifully performed by Memphis’ Hattiloo Theatre. The only saving grace from for the work was the exquisite voices of the Hattiloo Theatre.

It is unfortunate that even after sitting through Program B I still have no idea of what and/or who Ballet Memphis wants to be. The eclectic grouping of the four works did not help in the least….I still ask myself….is Ballet Memphis saying they are a contemporary ballet company ready to step out onto the world stage…or are they just a very good but still regional ballet company who, though artistically drawn to the contemporary voices of today’s young choreographers, fear giving up their classical identity…I sadly have to go with the latter…

“Generous artistry and technical prowess bathe the company in a warm glow,” says The Boston Globe about Hong Kong Ballet. One of Asia’s premier classical ballet companies, the company is gaining international recognition as a world-class institution that represents Hong Kong’s unique character. The first company in Asia to perform Nacho Duato’s eloquent Castrati, Hong Kong Ballet brings this ballet to the Joyce stage along with work by Krzysztof Pastor, the Artistic Director of Polish National Ballet, and Fei Bo, Resident Choreographer of the National Ballet of China.

Photo: Conrad Dy-Liacco

Program A:

A Room of Her Own (excerpt), Castrati, In Light and Shadow

Program B:

A Room of Her Own (excerpt), Dancing in the Wind, In Light and Shadow

Photo: Jamie Kraus

Schedule

Tuesday 7:30pm

Wednesday 7:30pm

Thursday 8pm

Friday 8pm

Saturday 2pm & 8pm Sunday 2pm

Tickets start at $10!

Call JoyceCharge at 212-242-0800 for $10 tickets.

All other tickets can be purchased online.

Program A: 1 hour 34 minutes (including one intermission)

Program B: 1 hour 21 minutes (including one intermission)

175 Eighth Avenue at 19th St.

Written and directed by Alexander Ekman

Composer Mikael Karlson

Director of Photography Ari Willey

Royal Scottish Ballet

Alina Lagoas, Nicole Rhodes, Rebecca Labbé,

Dragos Mihalcea, Gunnlauger Egilsson,

Aleksander Maksic, Gil Shachar

Alessandra Ferri & Herman Cornejo in “TRIO ConcertDance”. Photo :Roberto Ricci

March 2-6, 2015, the Joyce Theater Foundation presented Alessandra Ferri and Herman Cornejo with the American pianist Bruce Levingston for the U/S. premiere of Trio ConcertDance.

The beauty of the performances was in the simplicity of the choreography…nothing flashy or overly complicated. Because of the simplistic beauty of the choreography you could truly focus on the performances of Ms. Ferri and Mr. Cornejo.

Fang-Yi Sheu’s Senza Tempo, set to Bach, is an exploration of both devotion and protection. Mr. Cornejo stands behind Ms. Ferri with their arms interwoven like snakes. Clifton Taylor, who was the lighting designer for the performance, subtle backlit the performers so at first it was hard to tell if it was some sort of tree like sculpture it’s many branches locked in geometric patterns or the dancers’ standing one behind the other

This piece focuses on the arms and the arms’ relationship to each other. There constant connection provided a circuitry for the energies to pass between the dancers. Ms. Ferri would step away from Mr. Cornejo, arms still woven together only to have Mr. Cornejo quickly step in and readjust his arms so she resides within his protective embrace.

Herman Cornejo performed Momentum which he had also choreographed. Dancing to Philip Glass’ Etude No. 16 Mr. Cornejo gave evidence as to why he is one of American Ballet Theatre’s most celebrated principal dancers. He has an uncanny ability to turn, his body spinning in wonderful ways, whether in the air or on the floor.

He moved with such sensuality that it was breath-taking. He would step into a position and then with the grace of a panther move into the next. It was indeed one of the best performances by Mr. Cornejo I have seen and I have seen him perform many times.

Alessandra Ferri & Herman Cornejo in “TRIO ConcertDance”. Photo :Roberto Ricci

Throughout the evening you witness the strong chemistry that exists between Mr. Ferri and Mr. Cornejo, it was always passionate and at times almost erotic in it intensity. When Mr. Cornejo gathered Ms. Ferri info his arms and kissed her passionately you could hear gasps of admiration from the audience.

Now add to the mix acclaimed American pianist Bruce Levingston, one of today’s leading figures in contemporary music. He has had the distinction of composers such as Philip Glass and Timo Andres creating music for him._. He is known for his “extraordinary gifts as a colorist and a performer who can hold attention rapt with the softest playing” (MusicWeb International).

Mr. Levingston created a rich tapestry of sound the matched the talents of both Ms. Ferri and Mr. Cornejo. Trio ConcertDance was truly an evening of magic and majestic performances. Bravo to all involved…

Akram Khan and Tamara Rojo teamed up to perform Dust as part of English National Ballet’s production Lest We Forget, which commemorates the centenary of the First World War. Akram Khan’s work Dust is about the empowerment of women in the war, especially as they became the main workforce in the country.

Akram Khan’s Dust in ENB’s Lest We Forget: c ASH

Akram said: “The piece is inspired by two things. First, the concept of a trench, of the young men and old men all going into trenches, and disappearing. The other substantial part was inspired by the women. In WW1 there was a huge social shift towards women. They needed weapons made for the war, they needed a huge workforce. I felt this shift in role was interesting. They knew they would be letting go of fathers, husbands, and sons; they might lose them. Yet they were making weapons that would kill others’ fathers, husbands, and sons. It didn’t matter which side you were on – they both felt loss and death. But in order for someone to live someone else was putting their life on the line. That cyclical thing was what I wanted to explore.”

Spitfire – An advertisement  divertissement (1988) was Matthew Bourne’s first hit, and something of a signature piece. It places Perrot’s famous Pas De Quatre form 1846, made as a kind of diva-off for the four leading ballerinas of the 19th Century, (in order of appearances was based on age from youngest to oldest, to squelch further confrontations between them , Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. (The fifth great Romantic ballerina of the time, Fanny Elssler, was invited to take part in the gala event but declined to do so; the young Lucile Grahn accepted without hesitation). Spitfire takes place im the world of men’s underwear advertising and mail order catalogue photography. Both a celebration of male vanity and an affectionate comment on the preening grandeur of the danseur noble, “Spitfire” was last seen at the Dance Umbrella 25th Birthday Gala in 2006 in a 6 man version. Here it will be seen in its original 4 man version with all of the original solos restored.

Matthew Bourne’s “Spitfire”

Matthew Bourne’s Early Adventures is a trio of works he made between 1988 and 1991, to celebrate his 25 years in dance making. In this remastered format for the digital age each piece easily withstands the test of time, most notably in that their strong sense of humor is retained. That it remains very funny derives from keen satirical observation merged with some good-old seaside postcard humor. Gentle fun is poked at nineteenth century classical ballet in Spitfire, a parody of a grand pas de deux in the form of a pas de quatre for four men, sporting stiff brylcreemed hair while advertising brilliant white underwear (a whole catalogue range of string vests, Y-fronts, boxers and long johns). With a patchwork of familiar pas de deux tunes from Glazunov and Minkus, the four performers satirized the aloof, elitist occupational “look at me” requirement that is common to both ballet principals and fashion models.a qui

Lithograph by A. E. Chalon of Carlotta Grisi (left), Marie Taglioni (center), Lucille Grahn (right back), and Fanny Cerrito (right front) in the Perrot/Pugni Pas de Quatre, London, 1845

Great Stars, Bitter Rivals: Pas de Quatre

(A Quick History of the Four Ballerinas and the Making of Pas de Quatre)

 Rasa

2007

Choreography: Alonzo King
Music: Zakir Hussain with performance by Kala Ramnath
Dancer: Laurel Keen and Brett Conway
Costumes: Robert Rosenwasser

This duet is from Rasa, a deeply evocative and shimmering piece, set to an original score by tabla virtuoso Zakir Hussain, which was called “an intriguing wonder” by the New York Times. Zakir Hussain’s mastery of classical Indian percussion and unique vision of world music have brought him worldwide renown, including a Grammy nomination, and his collaborations with Alonzo King renew classical forms in an entirely innovative way. Tabla music began as dancing music, in Northern Indian courts in the early 1700s, and its hypnotic intensity and complex rhythms convey the strong feeling that they are meant to move the body. Rasa is thus both a continuation of a deep tradition–the interdependence of dance and tabla music as art forms–and an expression of the contemporary global vision of both artists.

Photo by RJ Muna

From Network of Pointes to further discourses on contemporary ballet May 20-21, 2016 An SDHS Special Topics Conference at the Center for Ballet and the Arts, New York University, and at Barnard College, Columbia University.

Contemporary ballet is undoubtedly a recognizable genre for most dancers. It is identifiable. It appears to be flourishing. It has a bit of an “it” factor. It piques students’ interest. But what is contemporary ballet?

The conference seeks to cultivate a discourse of “contemporary” ballet in relation to traditional ballet vocabularies, narratives, and iconography. The 2015 issue of Conversations across the Field of Dance Studies: Network of Pointes began to articulate features of this genre, and this conference offers those interested in contemporary ballet’s historiography a forum for discussion

Event Locations

The Center for Ballet and the Arts (CBA) and Barnard College, Columbia University in New York City will serve as conference locations.

Event Sponsors:

This event is co-hosted by the CBA and Barnard College, Columbia College. It is sponsored by the Faculty of Education at the Royal Academy of Dance, the Dance Department at Loyola Marymount University (Los Angeles), the Dance Department at Skidmore College and SLIPPAGE: Performance|Culture|Technology.

Society of Dance History Scholars advances the field of dance studies through research, publication, performance, and outreach to audiences across the arts, humanities, and social sciences. As a constituent member of the American Council of Learned Societies, SDHS holds wide-ranging annual conferences; publishes new scholarship through its proceedings and book series; collaborates regularly with peer organizations in the U.S. and abroad; and presents yearly awards for exemplary scholarship, including the de la Torre Bueno Prize®.

Follow us on Social Media

…on Twitter @Ballet2016 and on Facebook.

You can also email us on contemporaryballet2016@gmail.com

Three American premieres and two U.S. Choreographic debuts performed by principals from American Ballet Theater, Mariinsky Ballet, New York City Ballet and Stuttgart Ballet highlight Ardani 25 Dance gala, August 19 and 20 at 8pm at New York City Center

A short documentary by award-winning filmmaker Charles Evans Jr. introduces the evenings with backstage and front-of-house glimpses of Ardani productions seen on stages throughout the world over the past five years.

Instead of the usual gala fare–bits of firecracker variations and pieces of ballet classics

Sergei Danilian’s

“Ardani 25 Dance Gala” at New York City Center, August 19 & 20, 2016,

is classic Danilian. The intrepid impresario, who has never side-stepped risk, will celebrate Ardani Artists’s quarter century of producing in the United States and abroad with a trio of U.S. premieres, two by young, unknown, but up–and–coming Russian choreographers, and one by American Ballet Theatre principal Marcelo Gomes.

Meet the Impresario Who Makes Dance Happen

Challenging their performers’ stylistic and theatrical versatility, the three dramatically different ballets feature 16 principal dancers from the American Ballet Theatre, Mariinsky Ballet, New York City Ballet, and Stuttgart Ballet.

“Impresario: Dancer in New Dimensions,”

a 500–page coffee table book of 750 black and white and color photographs chronicling performances produced by Ardani Artists over the years and backstage portraits of the participating artists.

“Impresario: Dancer in New Dimensions,”

will be released in conjunction with the New York City Center performances.

The international line-up of contributing photographers includes

Patrick Demarchelier, Alice Blangero, Lucas Chilczuk, Fabrizio Ferri,

Michael Khoury, Jason Kim, Alessio Migliardi & Nina Alovert.

“Impresario: Dancer in New Dimensions,”

will be available at major bookstores in New York City,

and

Ardani Online Store

TICKET INFORMATION

Tickets range between $55 – $175 and can be purchased by calling 212-581-1212;

at the City Center box office located at 131 West 55th Street

or online at nycitycenter.org

Presents

“The James Dean of the ballet world.” 

Daily Telegraph

Opening in Theaters and On Demand September 16th, 2016

“Without question, the most naturally gifted male ballet dancer of his generation.” 

The Observer

DANCER

Directed by: Steven Cantor

Starring: Sergei Polunin

Producer: Gabrielle Tana

Blessed with astonishing power and poise, Sergei Polunin took the dance world by storm and became the Royal ballet’s youngest ever principal. At the peak of his success, aged 25, he walked away, driven to the brink of self-destruction by stardom – his talent more a burden than a gift. Here is an unprecedented look into the life of a complex young man who has made ballet go viral. Urban rebel, iconoclast, airborne angel, Sergei is transforming the shape of ballet as we know it. But virtuosity comes with a high price. How can you be free to be yourself when you are ballet’s ‘hottest property’?