Posts Tagged ‘Christopher Wheeldon’

Wanted: Artistic Director of a Ballet Company

Monday, September 21st, 2015

By Rachel Straus

Two mid-size ballet companies in North America are in search of artistic directors. Gradimir Pankov is leaving his post at Les Grands Ballets Canadiens of Montreal after 15 years. John McFall is departing Atlanta Ballet after 20 years. In comparison to the majority of the 140-odd ballet troupes across the North American continent, which have minimal seasons and only a handful of dancers, Les Grands and Atlanta employ between 20 and 30 dancers and commission in-demand choreographers for their seasons and tours. So, what is required to helm a mid-size ballet company? Les Grands recently posted the following criteria for their artistic director search:

  1. “It is important that the AD leads the company by working in the studio, as a teacher, coach, repetiteur, or choreographer.”
  2. “The AD reports directly to the Board and is responsible for the company’s look, repertoire, choreography, programming, and is an artistic leader.”
  3. “[The AD has] a mind to fiscal responsibility, and a vision that includes the community’s desire for entertainment [and] artistic achievement.”
  4. “[The AD should have] a reputation for artistic quality and the contacts and ability to bring the world’s greatest contemporary choreographer’s work to the repertoire of the Company.”

It seems, if one takes the Les Grands advert as more than wishful thinking, the search committee wants the AD to do everything in the studio, know everyone in the ballet world, and have a head for business. Does such a wunderkind currently exist?

Loudes Lopez, a former principal dancer with New York City Ballet, is perhaps the only person who fits the bill. She became the AD of Miami City Ballet in 2012, after serving for five years as the executive director of Morphoses. She kept this company afloat, even after its founder, the choreographer Christopher Wheeldon, jumped ship in 2010. Lopez achieved this feat by inviting guest choreographers to direct separate seasons and by keeping her wary board close. Prior to her work with Wheeldon, Lopez served as the executive director of the George Balanchine Foundation, which is concerned with educational outreach. As a New York City Ballet dancer for approximately 24 years, Lopez developed an intimate understanding of George Balanchine and Jerome Robbins’ repertory, having performed their works while both choreographers were alive. Lopez is a particularly marvelous fit for Miami City Ballet because she was born in Cuba. She is able to fundraise in her native tongue and in a city, known as the gateway to Latin America.

While Lopez appears to be the dream AD, other recent AD hires reveal the more typical profile of a former principal dancer turned ballet master in chief. Take Madrid-born Angel Corella, who danced for American Ballet Theatre. He was hired by Pennsylvania Ballet in 2014. Because of various circumstances, he did not come with impressive executive credentials. After retiring from the stage, Corella returned to his native Spain and attempted to create a ballet company, first in the Castile and León region and then in Barcelona. Corella didn’t have experience fundraising and the Spaniards, especially in the wake of the financial crisis, vacillated about, and then declined to back his ballet company.

Then there is the Cuban-born José Manuel Carreño, another star of American Ballet Theater, who became the AD of Sarasota Ballet in 2011, upon his official retirement from the stage. He is now the head of Silicon Valley Ballet (formerly Ballet San Jose). Like Corella, he came to his first job with scant training in fiscal management, fundraising, or marketing experience.

It will be interesting to see who Les Grands and Atlanta Ballet will hire. In the recent past artistic directors of renowned ballet companies used to be choreographers, such as George Balanchine at New York City Ballet, Frederick Ashton at Royal Ballet and John Cranko at Stuttgart Ballet.  Thus their companies had unique artistic profiles. These days ballet companies are in the odd business of performing the same repertory as their fellow troupes. It makes for a homogenized ballet world. My hope is that Atlanta and Les Grands will hire a choreographer, one who puts a real stamp on the artistic “product” of their company. Perhaps this new AD will also be a woman. That would be doubly groundbreaking.

Ballet Goes to Broadway, Again

Saturday, October 4th, 2014

By Rachel Straus

The blogosphere is alive with news about the current forays of New York City ballet principal dancers Robert Fairchild, Megan Fairchild, and Tyler Peck into Broadway.

Robert Fairchild will appear in An American in Paris in the role originated by Gene Kelly. The production will premiere in Paris and will come to Broadway in the spring. Former New York City Ballet resident choreographer Christopher Wheeldon will provide the choreography.

Megan Fairchild, Robert’s older sister, recently made her Broadway debut (September 21) in the Broadway revival of On The Town. Originally conceived by Jerome Robbins and based on his 1944 hit ballet Fancy Free, On The Town requires that Fairchild dance, sing and act in her role as Ivy Smith, the small town girl who comes to the big city.

Then there is Tyler Peck, who Robert Fairchild recently married. She will premiere in the new Susan Stroman musical Little Dancer at the Kennedy Center on October 25. The musical is inspired by the relationship between painter Edgar Degas and Marie van Goethem, the poor ballet student who modeled for his sculpture “Little Dancer Aged Fourteen” (1881).

The movement of dancers between The Great White Way and the mirrored precincts of the ballet studio is nothing new. What is of note is the development of the Fairchild-Peck dance family dynasty, which also includes Megan Fairchild’s husband Andrew Veyette, another New York City Ballet principal dancer. Veyette excels in Broadway-style City Ballet works such as NY Export: Opus Jazz, where sharpness and grit rather than classical aplomb are emphasized.

Clearly this dancing foursome, who are mature dancers, are looking beyond their careers at City Ballet and ballet, in general. It wouldn’t be surprising if they started a televised dance program, one that presented their shared interests in ballet, Jazz dance, big business (in the performing arts), and self-marketing.

What is not certain for these intrepid ballet dancers is whether their current or upcoming work on Broadway will launch them into a new performing sphere. Much of that success depends on the ability of the choreographers who are, or will be, directing them.

The other ingredient for success is the development of a different kind of stage personality. Highly successful musical theater performers, whether it be Nathan Lane or Sutton Foster, take the material and make it quirky (or comically) their own.

So, in honor of iconic performers and legendary director-choreographers, here is a little slide-show movie about Jack Cole, George Balanchine, and Jerome Robbins, who worked extensively with ballet-trained dancers, from Gwen Verdon to Vera Zorina to Chita Rivera. Together they made numerous enduring Broadway and Hollywood musical theater dance numbers. All three men developed their choreographic voices by breaking the so-called boundaries between the dance forms. All three woman showed that great dancing technique looks like play instead of performance.

To see the slide show movie, press on this link:

Ballet Goes Broadway, Back Then




Fall for Dance Festival: Recapping Program 1, 2 and 5

Wednesday, October 17th, 2012

By Rachel Straus

The seventh annual Fall For Dance Festival came to a meaty close on October 13.  Program five at New York’s City Center trafficked in high testosterone, thanks to China’s LPD-Laboratory Dance Project’s No Comment (2002) and Yaron Lifschitz’s Circa (2009), which is also the name of the Australian acrobatic troupe. In both works the body was treated like a battering ram.

Circa by Justin Nicholas Atmosphere Photography

In Circa, the performers used not only their fellow artists’ thighs and shoulders, but also their faces, as launching pads for balancing in midair and jettisoning across the space like Evel Knievel. In No Comment, the men continually fell to the floor, as though blown down by an invisible hammer. As a finale, they stripped to their waists to reveal their glistening muscular torsos. Like fight club winners, they took their bows. But their message—sex objects who pulverize themselves are cool—confounded me.

Visions of aggression and angst trumped visions of cooperation and kindliness in the three FFD programs of 12 dances from 12 international and national-based companies seen on September 28 and 30, and October 13. Perhaps the programming, spearheaded by artistic advisor Stanford Makishi, not only represented his personal preferences, but also reflected the times. The majority of the works were made in the past four years, and only two dated before 2002. This decade hasn’t been an easy ride; the dances reflects that.

The festival’s first program ended with Martha Graham’s Chronicle, which was made in response to rising European fascism before World War II. The first section of Graham’s 1936 work surprisingly echoed the last work in the festival: Deseo Y Conciencia (2011). In Deseo, flamenco choreographer-performer Maria Pagés donned a red costume that transformed into a shroud. Likewise, the gargantuan red underskirt worn by Blakeley White-Mcguire in Chronicle possessed the same import. Both women became symbols of mourning, evoking through their blood-red cloaks a fraught world.

Maria Pages. Photo by David Ruano

Blakeley White-McGuire. Photo by Michele Ballantini

The two most ambitious works, of the 12 viewed, were Pam Tamowitz’s Fortune (2011) and Christopher Wheeldon’s Five Movements, Three Repeats (2012). Both tendered subtlety, nuance and mystery. (Full disclosure: Fortune was choreographed on the Juilliard School dancers and I work at Juilliard.) In Fortune, Tamowitz set 21 dancers, costumed in hot pink and red unitards, against a field of greenish yellow. Here was a happy Mark Rothko painting. Though Tamowitz’s movement vocabulary is clearly inspired by Merce Cunningham’s, she doesn’t ignore the music as was Cunningham’s way. Tamowitz’s sharply sculptural patterning, full of pregnant pauses, reflected Charles Wuorinen’s stop and go Fortune (performed by a quartet Juilliard School musicians). In response to Wuorinen’s abrupt shifts in sounds, which instantly dissolve as though they never happened, Tamowitz evokes mini narratives, some absurd, others resonant of a city life, where pedestrians walk with laser-eye certainty.

Juilliard Dancers in "Fortune." Photo by Rosalie O'Connor

Also of note was Christopher Wheeldon’s Five Movements, Three Repeats, which was made for Fangi-Yi Sheu & Artists. Sheu, a former Graham dancer born and trained in Taiwan, is now based in New York. She is one of the great performers of our time. Her guests were none other than Wheeldon’s former colleagues at New York City Ballet: Tyler Angle, Craig Hall and Wendy Whelan. To a recording of Max Richter’sMEMORYHOUSE and Otis Clyde’s The Bitter Earth/On the Nature of Daylight, Wheeldon didn’t treat Sheu as some modern dance oddity among the City Ballet dancers.

At the beginning of every other section of Five Movements, Three Repeats, Sheu undulated her spine like a fern seeking light. Her pliable torso work was best picked up in Hall’s simultanesously-occurring solo that spiraled into the floor. Later on, Sheu and Hall folded their limbs into each other. Their duet featured a melding of their bodies, and organically blended central aspects of their different technical training (Sheu’s focuses on weight, Hall’s on ethereality).

Ms. Sheu and Mr. Hall. Photo by Erin Baiano

Though Sheu’s legwork is akin to the arrow-like esthetic favored by ballet choreographers, Wheeldon didn’t devolve to his usual histrionics: over-choreographing women’s leg extensions in the pas de deux. Consequently, Sheu did not become a human gumby. Instead, she partnered Hall’s weight as much as Hall partnered her’s. Wheeldon’s venture into making work for a modern-trained dancer is heartily welcome. The task seems to stretch him instead of over-stretching his female collaborators.

Music and Dance Partnerships

Wednesday, September 26th, 2012

By Rachel Straus

At the most recent Guggenheim Museum Works & Process (September 23), I couldn’t help but think of Monte Carlo in 1928. In that city and year, the 24-year-old George Balanchine created his bedrock neo-classical ballet to Stravinsky’s Apollon musagète. For the next four decades, the partnership between the young Russian choreographer and older Russian composer flourished.

At Sunday’s moderated talk and dance exhibition, the subject was a new ballet-music partnership—that of the 25-year-old American choreographer Justin Peck and American indie rocker Sufjan Stevens. Peck is a current New York City Ballet corps member who has been making work since 2009. Stevens has several award winning albums under his belt. Moderator Ellen Bar mentioned that Stevens has a “cult following.” The hope is that his music will bring in a new, young audience to New York City Ballet. On October 3 the Peck-Stevens work, Year of the Rabbit, will premiere at the former New York State Theater.

What’s odd about this new collaboration is that Stevens’s 2001 electronica album Enjoy Your Rabbit is getting a complete classical music makeover. In fact, Rabbit has been through not one but two iterations since its inception. Classical music arranger Michael Atkinson turned it into a string quartet in 2007. For the City Ballet commission, Atkinson and Stevens expanded the quartet into a full orchestral score. Instead of electronic acoustics and club beats, Atkinson inserted clacking sounds for the violin and a fare amount of percussion. Stevens’s original work, heard in excerpted form over the PA system, captures the cosmic sensibility of The Chinese Zodiac, which served as Stevens’s original inspiration. The orchestral version, also heard in excerpted form, sounds less celestial.

When Peck began reading up on Chinese astrology, he confessed to feeling overwhelmed by the enormity of the subject. When asked about the challenges of making Year of the Rabbit, Peck said that it has been easy sailing, partially because NYCB Ballet Master in Chief Peter Martins gave his work priority and the pick of the company’s dancers. Only Alexei Ratmansky might have gotten this treatment at City Ballet. But that is the very point. Ratmansky is gone; he took an Artist in Residence position at American Ballet Theatre in 2007. Choreographer Christopher Wheeldon left City Ballet in 2008 to start his own company. Martins is looking for a new wunderkind. Peck has fluency formulating movement based on academic ballet steps. He is the great new hope.

Four excerpts showcased Peck’s choreographic talent, energy, and ambition. His work is fast, virtuosic and not as angular as Balanchine’s style. But the softer arm work often rides on top of Peck’s hyper-kinetic foot work (and sometimes lyricism gets lost). When City Ballet principal Tiler Peck (no relation) danced an excerpt from “Year of the Ox,” it was the most exciting moment of the evening. Having learned the part 48 hours prior, Peck was filling in for an injured Ashley Bouder. Becoming the Ox, she pawed the ground. Her legs and arms yoked in one direction, and then another. She pushed back with flying limbs that syncopated against the music and responded to the violins’ high notes.


Another event that featured music as much as dance was the September 17 Alice Tully Hall performance of the Simón Bolivar National Youth Choir and the José Limón Dance Company. The highlight of the one-night only occasion in celebration of Venezuala’s El Sistema was Missa Brevis. With a score by Zoltan Kodaly, a choir of more than 65 young singers, and a cast of 18 dancers, the 1958 Limón work has never looked better.

In the age of irony, it’s not easy to dance Missa Brevis. The work was inspired by Limón’s trip to Poland, where he witnessed the people’s poverty and dignity under Soviet Union rule. Despite this big subject, Missa Brevis came across Monday night not as an ideological sermon, but as a prayer. In their Lincoln Center debut, the Limón dancers performed Limón’s landmark work without an ounce of sanctimony.

Like a religious icon above the heads of the worshippers, Missa began with Kathyrn Alter raised out and aloft of a mass of men and women. Hovering above the organist, played by Vincent Heitzer, Alter’s face shone like a Madonna. Francisco Ruvalcaba danced Missa‘s Christ figure. Ruvalcaba is the outsider who dances alone and prostates himself on the floor in the sign of the cross. Angels also appear: three men men lift three women; they float through the air; their arms reach upwards; their limbs sing to the heavens.

The groupings of dancers in response to Kodaly’s choric mass created sonic-visual achitecture. Its architectural correlative is the great cathedral, one that possesses a high golden altar and low simple benches. Limón learned from his mentor Doris Humphrey that contrast is key to choreography. Consequently, Missa doesn’t focus solely on darkness and sorrow. Of the 12 sections, almost half of them speak of hope.

Under the artistic direction of Carla Maxwell, the Limón Company is now in its 65th year. The company’s executive director is the Venezuelan-born Gabriela Poler-Buzali. Since her appointment in 2009, Poler-Buzali has been forging alliances with Latin American arts organizations, presenters and choreographers. The company is increasingly touring Latin America. Today Limón is being rediscovered as a Latino artist. The majority of the audience at Alice Tully were there to listen to the Simón Bolivar National Youth Choir. Hopefully, they will seek out the José Limón Dance Company after this first, magnificent introduction.

The Seven Deadly Sins at City Ballet

Tuesday, May 24th, 2011

By Rachel Straus

New York City Ballet’s new staging of  “The Seven Deadly Sins,” which had its premiere at the company’s spring gala on May 11,  puts Kurt Weill and Bertolt Brecht’s dark, sinister “ballet chanté” of 1933 into a new context: a tinsel-town soundstage, complete with unison hoofers in the grand finale. Choreographer Lynn Taylor-Corbett, whose credits include Broadway’s “Swing,” has essentially created a Cliff Notes version of this irony-laced yarn, dragging  principal dancer Wendy Whelan and guest artist Patti Lapone through seven shallow scenes of human transgression and stripping the work of its brooding soul.

In the original 1933 production, choreographed by George Balanchine for Les Ballets 1933, singer Lotte Lenya and dancer Tilly Losch were presented as Anna I and II, yin yang composites of the same woman. The fact that Lenya and Losch bore a striking resemblance to each other, and were about the same age, probably helped Kurt Weill and Bertold Brecht’s scenario. It concerns the Annas experiencing seven American cities, encountering seven “deadly” sins, and struggling with each other’s opposite personalities.

When Balanchine revived the work in 1958, he cast the 21-year-old Allegra Kent across from the significantly older Lenya. New York Times dance critic John Martin dubbed the production  “a stunning revival of a minor masterpiece.” But not all critics concurred, though the vision of Kent carried aloft on a human-size plate wearing just lingerie lingered in the mind, says dance writer Deborah Jowitt.

Balanchine was never afraid of being naughty. He also wasn’t afraid of “Seven Deadly” dissapearing after its run. No one filmed the performance. This may say more about what Balanchine thought of his “minor masterpiece” than City Ballet’s capacity to film performances in the 1950s. But this point is conjecture.

Now flash forward 60 years. At a City Ballet studio event, Lynn Taylor-Corbett suggests to Peter Martins that she make a reintepreted revival of “Seven Deadly Sins.” With a penchant for commercially-driven projects, Martins agrees to the venture and to Taylor-Corbett’s casting of the matronly-looking Patty Lapone, who sings like a battle ax, and the bone-thin Wendy Whelan, who dances like a steely wraith. The hope was that the project would bring in new audiences (read Broadway ticket holders). At the gala, I did see Matthew Broderick arm and arm with his wife Sarah Jessica Parker.

Unfortunately, on stage Whelan and Lapone never formed a convincing relationship, twin-like, sisterly, or otherwise. Lapone mostly stood on the sidelines, serving as singing narrator. Whelan danced Taylor-Corbett’s forgettable choreography, becoming a pawn rather than a protagonist in the rapidly unfolding events.

The greatest interest in Taylor-Corbett’s ballet was Beowulf Boritt’s sets of seven cities. In Memphis, where the sin is “Pride,” Whelan flitted about in imitation of Isadora Duncan during an audition for a sleeze-style cabaret. The black and red décor said bordello, as did the lighting by Jason Kantrowitz. In San Francisco, where the sin was “Envy,” Boritt’s backdrop of quaint Victorian row houses against a boundless blue sky was enviable. In Baltimore, where the sin was “Greed,” Boritt created a salon, channelling both Phillipe Starck’s overblown modernism and the Belle Epoque’s love of patterns. From two gargantuan black and white striped, tasseled love seats, Anna’s overfed suitors embarked on a mutually fatal duel.

As for Taylor-Corbett’s choreography, it lacked movement invention or good movement imitation. In Boston, where the sin was “Lust,” Whelan and Craig Hall peformed a romantic pas de deux.  Muscular and in a wife beater, Hall looked like Marlon Brando in Elia Kazan’s film version of “Street Car Named Desire.” He lifted Whelan aloft in shapes and transitions that looked exactly like moments in Christopher Wheeldon’s “After the Rain”—which Whelan and Hall perform frequently.

Following the performance, this reviewer read the Brecht text, which was translated into English by W.H. Auden and Chester Kallman. What crystalized from the text, but not from Taylor-Corbett’s production, is that the production hinges on demonstrating the conflict between the Annas: Anna I wants money and power; Anna II wants love and a creative outlet. Also, Anna II allows Anna I to push her around. But only in the last scene of Taylor-Corbett’s work is their conflict delivered without a doubt and Anna II emerges triumphant. As Anna II  (Whelan) collapses in front of her families’ spiffy new home, Anna I (Lapone) walks up the stairs in a mink, looking like a character from “The Real Housewives of Beverly Hills.”

The gala’s second half was devoted to Balanchine’s “Vienna Waltzes,” which premiered at the 1977 City Ballet gala.  If you don’t care for the music of Johann Strauss II, Franz Lehar, or Richard Strauss or for watching a carousel vision of dancers waltzing for 46 minutes, this ballet may not be for you. But despite the work’s repetitiousness, “Waltzes” is visual spendor at its finest;  Karinska’s five sets of costumes, ranging from full-skirted 1860s crinoline ball gowns to sleek white silk Roaring Twenties dresses are a fashionista’s delight.

In the pit, Clotilde Otranto energetically conducted such ditties as the “Explosions-Polka” and excerpts from “Der Rosenkavalier.” Principals Maria Korowski, Jennifer Ringer and Megan Fairchild demonstrated their strikingly differing styles through the same steps. That said all City Ballet dancers waltz with a brilliant elegance.

May Dance in New York City

Monday, May 2nd, 2011

By Rachel Straus

May 1-2

Guggenheim Museum

The popular Works + Process series presents “American Ballet Theatre on to Act II.” Current ABT dancers will perform excerpts from their upcoming Metropolitan Opera House season. ABT alumni will discuss the challenges dancers face in the second act of their careers.  You can watch the event each night at 7:30 via livestream.

May 2

Baryshnikov Arts Center

In the final spring installment of BAC Flicks: Mondays With Merce, two Charles Atlas films of Merce Cunningham’s dances will be projected on widescreen. In “Crises” (1960), elastic cords connect the dancers to each other. Dramatic entanglements ensue. In “Native Green” (1985), John King’s music and William Anastasi’s evoke a scintillating spring. Cunningham scholar Nancy Dalva will speak to former Cunningham dancer Gus Solomons, Jr.

May 3-June 12

The David H. Koch Theater

The opening week of the New York City Ballet’s spring season will showcase 12 of Balanchine’s works, which insiders refer to as “black and white” ballets because the costuming is bare bones. Most often, the women wear black leotards and white tights. The men wear black tights and white t-shirts. The choreography is hardly sparse. Up next will be the May 11 world premiere of Lynne Taylor-Corbett’s “The Seven Deadly Sins,” set to the Kurt Weill score, featuring Patti LuPone and Wendy Whelan as sisters (which will be hard to believe). The final week’s performances are titled “See the Music…” and will highlight NYCB’s musical repertory as performed by its 62-piece orchestra. The June 12 “Dancer’s Choice” performance will feature works handpicked by the company’s dancers. Over the seven-week season, the company will perform 19 works by Jerome Robbins, Susan Stroman, Christopher Wheeldon, NYCB Ballet Master in Chief Peter Martins, and George Balanchine.

May 3

The Apollo Theater

This Alvin Ailey American Dance Theater benefit performance will showcase Camille A. Brown’s 2007 solo “Evolution of a Secured Feminine,” which catapulted this complex, hip, young choreographer into the spotlight.


May 10-22

The Joyce Theater

The two-week engagement of Cuba’s Danza Contemporanea de Cuba stands out for its offering of three works: The U.S. premiere of “Casi-Casa,” created by the quirky, inventive Swedish choreographer Mats Ek, set to disco, hip-hop, swing and jazz; the world premiere of “Horizonte” by former Ballet Hispanico dancer Pedro Ruiz; and “Demo-N/Crazy,” made by Sydney Dance Company artistic director Rafael Bonachela, which has been said to wow for its athletic partnering and semi nudity.

May 12-14

Cedar Lake Theater

Cedar Lake Contemporary Ballet will present a new installation created by artistic director Benoit-Swan Pouffer. Part choreographed dance performance and part interactive installation, audience members are invited to move freely through the space where the dancers will be performing.

May 12-15

Dicapo Opera Theatre

Dances Patrelle will present the world premiere of Francis Patrelle’s “Gilbert & Sullivan, The Ballet!” an evening-length work, featuring live music and singers, and inspired by characters drawn from Gilbert and Sullivan’s comic operas.

May 13

Buttenwieser Hall at 92nd St. Y

The “Fridays at Noon” free series will culminate with informal performances by tap and step dancing virtuosos Marshall Davis, Jr., Andrew Nemr, and their guests. Davis, Jr. performed in Savion Glover’s Tony Award winning “Bring in ‘Da Noise Bring in ‘Da Funk.” Nemr has the credentials too, having performed along side the Duke Ellington Orchestra, Jimmy Heath, Les Paul, Harry Connick and the Lionel Hampton Orchestra.

May 16-June 29

Metropolitan Opera House

American Ballet Theatre will hold its annual seven-week season. The big event will be the New York premiere (June 9) of Alexei Ratmansky’s “Bright Stream.” Also of interest will be two world premieres (May 24-26) by Ratmansky and Christopher Wheeldon, a New York premiere by Benjamin Millepied, and a revival of Antony Tudor’s “Shadowplay.” The full-length ballet offerings will be “Giselle,” “Swan Lake,” “Cinderella,” “Coppelia,” “Don Quixote,” “The Sleeping Beauty,” and “Lady of the Camellias.”

May 20

Ailey Citigroup Theater

“Performing the Border” aspires to blend and build on the grammar of two Indian classical dance forms, Bharata Natyam and Odissi.  David Phoenix Singh, who runs Dakshina Company, a Bharata Natyam and modern dance company, and Nandini Sikand, who directs Sakshi Productions, a neo-classical and contemporary Odissi dance company, will collaborate.


May 21

Manhattan streets

This year’s New York City Dance Parade will showcase 65 dance genres. The parade will start on 21st street, move down Broadway, pass through Union Square, and take over University Place, Eighth Street and St. Mark’s. The House, Techno and Disco floats will lead the celebrants to Tompkins Square Park and to DanceFest, which will offer stage and site specific dance performances and free dance lessons. This will not be a sedentary experience.

May 23

Judson Memorial Church

This year’s Movement Research Gala will feature Trisha Brown’s “Set and Reset” (1983) as performed by its original cast of dancers, who have become dance makers in their own right.