The Ailey legacy, misinterpreted by the founder's own company … [Read more...]
The yearly Ailey surprise
Because Alvin Ailey American Dance Theater has tended to extrapolate badly from its founder's aesthetic and ethos, I forget every year what a strong craftsman Ailey was. Even when he was tired, the work had merit. Revelations is always my first reminder of his craft--and, no, he wasn't tired for that--followed this year by Cry, Night Creatures, and the final section of Three Black Kings. In fact, … [Read more...]
Saturday November 27
Neither here nor there: dances that don't bridge a gap … [Read more...]
Neither here nor there
Hmmmm.... It must be something in the air--or in me--that the experimental works this month seemed too much between one thing and another, without ever wresting their own potent identity. They felt insufficiently steeped, like a stew that hasn't sat and simmered long enough for the flavors to blend. With Neil Greenberg's (like a vase), the steps were precise yet coded, private, partial: Neil … [Read more...]
November 8:
European import: bright young choreographers from overseas … [Read more...]
European import
This season we've had contemporary European dance not only at BAM, the usual suspect, but also at the Joyce, with Belgium's Ballets C de la B earlier this month and more recently Cedar Lake, its reputation as purveyor of B-list--or at least green--European choreographers (with a few A-list Israelis in the mix) now solid. I sound typically New Yorker, don't I? Jaded to the point of provinciality. … [Read more...]
Saturday, October 23
the exciting bother of writing about strange, meta-meta, pieces. … [Read more...]
Conundrum: how to write about left field shows
With dances that use an academic or codified language, the route to the matter at hand is relatively direct. Not so when not steps, not structure, but method--more intangible, less empirically provable--is the reigning force. In that case, it doesn't do for the critic to isolate effects; they are mere flotsam--analogues. Of course, writers do isolate all the time, with the result that the dance … [Read more...]
Sunday October 10
The tricky craft of curation, more philosophies than a choreographer could have dreamed of, and other thoughts for the beginning of the season … [Read more...]
The tricky craft of curation, the worldviews in dances, and other thoughts from the first month of the season
We critics have grown rather grouchy about City Center's annual smorgasbord, the Fall for Dance festival--which is exactly like looking a gift horse in the mouth, as those $10 tickets have to be paid for by someone and it's certainly not the audience. The shows--five separate programs, with four distinct works on each-- sustain a huge loss, offset by corporate and state support. My frustration … [Read more...]