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Michael Langlois Fall 2014 Ballet Review National and International Reviews from Ballet Review Fall 2014 On the cover: Bijayini Satpathy and Surupa Sen in Songs of Love and Longing. (Photo: Stephanie Berger, Baryshnikov Arts Center) ©2014 Dance Research Foundation, Inc. All rights reserved. 4 Miami – Michael Langlois 5 New York – Joseph Houseal 7 Brooklyn, NY – Sandra Genter 8 Toronto – Gary Smith 10 Miami – Michael Langlois 11 Toronto – Gary Smith 13 Salt Lake City – Leigh Witchel 14 Stufgart – Gary Smith 16 London – Larry Kaplan 17 Chicago – Joseph Houseal 19 New York – Alexandra Villarreal 35 21 San Francisco – Rachel Howard 22 Miami – Michael Langlois Dawn Lille 24 A Conversation with Sylvester Campbell Susanna Sloat 35 ge Limón Heritage Ballet Review 42.3 Elizabeth Aldrich and Victoria Phillips Fall 2014 39 ge Body Politic Editor and Designer: 62 Michael Langlois Marvin Hoshino 40 A Conversation with Justin Peck Managing Editor: Jay Rogoff Roberta Hellman 50 Happy and Wretched in Boston Senior Editor: Don Daniels Joel Lobenthal Associate Editor: 52 A Conversation with Valerie Camille Joel Lobenthal Joseph Houseal Associate Editor: 62 Tales of the Second City Larry Kaplan 40 Jonelle Seitz Copy Editors: 68 A Conversation with Mike McKinley Barbara Palfy Naomi Mindlin Harris Green Photographers: 74 Spring Awakening Tom Brazil Costas Susanna Sloat 78 Paul Taylor 2014 Webmaster: David S. Weiss Karen Greenspan Associates: 90 ge Legacy of Shiva Peter Anastos 97 London Reporter – Clement Crisp Robert Greskovic 13 George Jackson 111 Music on Disc – George Dorris Elizabeth Kendall 116 Check It Out Paul Parish Nancy Reynolds James Sufon David Vaughan Edward Willinger Cover photograph by Stephanie Berger, Baryshnikov Arts Center: Sarah C. Woodcock Bijayini Satpathy and Surupa Sen in Songs of Love and Longing. Miami Nacho Duato, and Alexei Ratmansky. It was a Michael Langlois fascinating bit of musical and choreographic programming to have Peck of New York City For those who pay attention to such things, Ballet with Britten’s String Quartet follow di- Miami City Ballet’s second program at the rectly on the heels of Balanchine and Bach. Adrienne Arsht Center was called “See the What could those comparisons possibly lead Music.” The music, in this case, began with one to conclude? In my case, it was that Con- Bach’s Double Violin Concerto and was fol- certoBaroccoisaballetyoucanneverseeenough lowed, after a pause, by Benjamin Britten’s of, and that Peck, at twenty-six, has already String Quartet No. 1. Later we heard a record- created in the pas de deux Chutes and Ladders ing of Maria del Mar Bonet sing five Catalan (2012) a work that can follow a masterpiece songs, and to close the program we had Rach- and truly hold its own. maninoff’s Symphonic Dances, Opus 45. I’m going to skip ahead here to my overall The choreographers, in order of appear- impression, which, at nearly three hours, was ance, were George Balanchine, Justin Peck, so good in every respect I almost thought I was back in New York. What did the local audience Ballet Review is a nonprofit journal published by the DanceResearchFoundation,Inc.Itissupportedinpart enjoy most? Nacho Duato’s Jardi Tancat. Why? by funds from the National Endowment for the Arts, My guess is that the Grapes of Wrath aura that the New York State Council on the Arts, The Fan Fox hung over the entire affair made them wist- and Leslie R. Samuels Foundation, and individuals. ful for a time or a country they once knew,but Contributions to the Dance Research Foundation, Inc., I could be wrong. There are never any jokes 37 West 12 Street, Apt. 7j, New York, NY 10011, are tax- in a Duato ballet, that’s for sure, and while the deductible. movementispoeticitcouldn’thelpbutremind Board of Directors: Mary Sharp Cronson, Hubert Goldschmidt,RobertaHellman,MarvinHoshino,Na n- me that Duato’s former boss, Jiří Kylián, did it cy Lassalle, Dawn Lille, Theodore C. Rogers, Barbara allwithahellofalotmorepanacheandasense E. Schlain, David Vaughan, David Weiss, Helen M. of humor. Wright. The greatest ballet on the program was, of * course, Concerto Barocco. No need to expound Editorial correspondence, review books, subscrip- on that here, and while I was hoping Ratman- tions, and changes of address to Ballet Review, 37 West sky would give Mr. B a run for his money, 12 Street, Apt. 7j, New York, NY 10011. Articles and pictures should be accompanied by a self-addressed, I must say I was disappointed and confused stamped return envelope. Phone: 212-924-5183. Fax: by his Symphonic Dances, a ballet I would like 212-924-2176. e-mail: <[email protected]>. to rename The Pajama Game. Danced in what Subscriptions: The rate for individu als is $27 for 1 looked like the amorphous schmatas one used year) or $47 for 2 years. The institutional rate is $48 to see parading across the beaches of Thailand for 1 year or $79 for 2 years. Back issues: $16. worn by various latter-day hippies, the ballet Send a personal check or money order payable to came off as similarly impossible to define. Ballet Review, or use Visa or MasterCard (include ac- count number, expiration date, and signature). Over- A vague Scarlet Letter story was hinted at by seas postage is $12/year additional ($24 for 2 years), some man sporting a red splash mark on his airmail: $20/year ($40 for 2 years). Please send foreign singular white costume during the opening draft payments in dollars drawn on a U. S. bank. sequence, but after that I felt like most of the Website: <www.balletreview.com>. Republicans in Congress (i.e., more and more * befuddled by the facts). At the conclusion of ©2014 Dance Research Foundation, Inc. All rights re- the ballet, after all sorts of comings and go- served. Printed in China. issn: 0522-0653. Current copies are distributed by Ubiquity Distri- ings that further hinted at something you butors, 607 Degraw Street, Brooklyn, NY 11217. Tele- couldn’t quite put your finger on, this same phone: 718-875-5491. Periodical postage paid at New red mark reappeared on a singular woman. York, NY, and additional mailing offices. How? Why? Who knows? At nearly 11:00 p.m., 4 ©2014MichaelLanglois who cared? The dancing was lovely and the choreographyaspolishedasanewFerraribut, golly, it was like trying to finish the Saturday crossword puzzle without an eraser or Rex Parker to fall back on. Alas, Ratmansky stated right there in black and white in the program, “There is no real Photo: Paul Kolnik, New York City Ballet story.”Well, as Shakespeare’s Queen Gertrude observed, “The lady doth protest too much, methinks.” The most sublime aspect of this valiant but disingenuous effort was Mark Stanley’s lighting. As a rule, I don’t necessar- ily think much about lighting designers, but the combination of Adeline André and Istvan Dohar’s costume color palette and Stanley’s Acheron: Tiler Peck and Robert Fairchild. lighting was nothing short of hallucinogenic. tentions, the masque-like The Four Seasons set It brought me back to MCB’s first program to Verdi. Mearns, carrying Wheeldon’s exqui- of the season and Stanley’s equally alluring site DGV:DanseàGrandeVitesse, is a study in au- work on Wheeldon’s Polyphonia. Given the thoritative artistry. She is a native denizen of length of the evening and the degree to which a particular universe. Ratmansky seemed to mercilessly tease me In the ballet La Stravaganza, revived from into trying to figure out what was going on in 1997, by the prodigious French choreographer a ballet that had “no real story” but certainly Angelin Preljocaj, we see a master working seemed to, I was grateful to have Mr. Stanley with familiar artistic tropes. We hear baroque holding my hand and saying, “Don’t worry, music cut with audioscapes of technology, dear, it’s only a movie.” shattering glass, and other intangible cas- cades. We encounter a meeting of worlds his- New York torical and contemporary. Joseph Houseal Preljocaj’s earlier astonishing remakes of Ballets Russes masterpieces are fantastic the- New York City Ballet looks glorious, as won- atrical choreography working well within the derful as it has looked in many years. Clearly historical idiom of ballet. His Annonciationalso thecaliberandconsistencyoftrainingisreap- uses Vivaldi mixed with audioscapes, refer- ing its harvest in this generation. With danc- encestofineart,andhistoricaldiscoursewith- ers as personable and assured as Tiler Peck in several disciplines using the languages of and Sara Mearns revitalizing the clarity and the combined arts. intensity of Balanchine, leading a growing Ballet as a form allows historical discourse number of younger dancers who also throw within it. Alexei Ratmansky and Christopher themselves fearlessly into exciting new cho- Wheeldon understand this well. Part of the reography, while maintaining the unique beauty of Wheeldon’s work is the elegance of qualities of NYCB, we have all the evidence its relationship to the past. Part of the robust- needed that the company is in fine fettle. ness of Ratmansky’s work relies on his incre- Thebalanceandharmonybetweenthecom- dible knowledge of the art of ballet. Preljocaj pany and different choreographers varies ac- is European, deeply knowledgeable of visual cording to the degrees of mutual understand- art, and his work speaks a traditional, sym- ing. The company’s comfort with Jerome Rob- bolic language of ballet – but more than that, bins afforded a lovely Afternoon of a Faun, as at the same time it unleashes a torrent of orig- well as, more remarkably for its stylistic in- inal, richly motivated, and informed chore- ©2014JosephHouseal 5 ography. It is a Renaissance man’s delight, attainability, even as this role provided Peck and a sure sign of the strength of the form – a change from the vivacious roles she fre- a strength reflected in the caliber of artists quently gets.
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