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One of the nice things about
living in New York City is that there is probably someone performing somewhere in the city
365 nights of the year. On a recent weekend, I took in "The Gypsy Project" and
"The New York City Ballet."
"The Gypsy Project" was produced by Laurie Kanyok and Alex Hasbany at the
Tribeca Performing Arts Center. Both Kanyok and Hasbany teach at The Broadway Dance
Center, and they assembled 15 choreographers and over 100 dancers for three
enthusiastically attended performances. Judging from the audience's reception, the three
top pieces were 'Tainted Love' by Ray Leeper, 'Against the Current' by Mia Michaels, and
'Honey Rag' by David Marques. Coincidentally, all three teach at The Broadway Dance
Center, where I also teach.
Using music by Steve Reich and Albert Sterling Menendez, Michaels has developed her own
unique vocabulary which added mystery to a breathtaking display of powerful dancing in
'Against the Current.' Most of the dancers appeared to be ballet-trained, with very strong
bodies. The choreography was unpredictably dynamic, and technically demanding at
break-neck tempos. Talking with Allison Ellner, owner of Broadway Dance, the word
'breathtaking' sums up the superb dancing of Mark Meisner, Jason Parsons, Ronnie
Towderowski, Andrew Turteltraub, Ariel Osterweis, Ioana Alsonso, Shawnda James, Corrine
McFadden, and Jennifer McLean.
David Marques found the heart to Kander & Ebb's 'Honey Rag' and choreographed a witty
and fun piece for himself and Shannon Lewis. Both accomplished Broadway gypsies, Marques
and Lewis gave light-hearted, sparkling performances that added Broadway pizzazz to the
program.
Ray Leeper's work to 'Tainted Love' had his dancers coming and going, up and down, singly
and together, so fast and furious the audience was delirious. The exuberant dancers were
Corrine McFadden, Kristen Gorski, Wes Pope, Mark Meisner and Jason Parsons. Great fun!
The next evening I attended The New York City Ballet at Lincoln Center. Wendy Whelan and
Peter Boal danced the leads in 'Opus 19 /The Dreamer' by Jerome Robbins. In this mood
piece, Whelan and Boal showed that they are two of the most musically expressive,
dramatic, and technically secure leading dancers in the world today. It was a mesmerizing
performance, full of haunting beauty.
On the following afternoon, back to City Ballet to see George Balanchine's masterpiece,
'The Four Temperaments.' It's hard to believe this ballet was created in 1946 - 42 years
ago - because it looks like it's somewhere in the future. The music, by Paul Hindemith, is
also a masterpiece. This is one of the 'practice clothes' ballets: black leotard &
pink tights & shoes for the women; black tights and white tee shirts, socks and shoes
for the men. All against a blue cyclorama. No matter how many times I've seen this ballet
in the past 25 years, it is always a revelation. The choreography is incredibly beautiful,
inventive, and appropriate - movements fit the music so well. Although there is no obvious
story line, there is a strong emotional undercurrent and your heart is touched. Again,
Whelan and Boal were featured and set the tone and standard for the entire cast, which was
in good form.
In "Bournonville Divertissements" Miranda Weese and Nikolaj Hubbe were sheer
perfection as they danced the pas de deux from 'Flower Festival at Genzano.' Weese (whom I
consider the most technically perfect dancer today) and Hubbe conveyed all the charm and
manners of the period (1842) while sailing through the lacey and buoyant choreography.
This was dancing the way it should always be: energetically controlled, lyrically strong,
calmly exciting, articulated but fresh. Other dancers who stood out in various solo roles
were Samantha Allen, Benjamin Millepied, Tom Gold, Robert Wersinger, Alexandra Ansanelli,
Eva Natanya and Christopher Wheeldon.
As I think about the whole weekend, what made the dancing good was the dancers. You've got
to have good dancers to show how good the choreography is. And by good I mean trained. And
by trained I mean having skill. These are people who know what they are doing and how to
do it. The training shows in the physiques, in the beautifully confident and sure way the
dancers move. They use their bodies to the utmost, and carve space with their arms and
legs, creating breathtaking lines and images as they balance, turn, and jump. The music
has meaning because of what these dancers do to it. When the music is slow, the energy
continues through subtle movements; when the music is fast, these dancers are on top of it
and anticipating and already into the next move. No one ever looks like he or she is
stalling for time. These are dancers who give you the thrill of the risk because they are
capable of breaking the boundaries. They have gained the intelligence that comes from
days, months, years of class work and performing. They superbly demonstrate the
magnificent power of dance to refresh, renew, and inspire.
Finis Jhung |
