Barnett Serchuk - Page 4

Good news: we are finally seeing same sex couples in dance. A rarity is now becoming something of a mainstream occurrence as we move into a new realm of sexuality actually being presented on stage. For gay men, and I include myself, we have waited a long time to see this, free from any kind of misrepresentation that smacks of hypocrisy, insensitivity or comic put-downs. We can now examine ourselves in the art of Terpsichore -not only on small stages, but in the repertory of New York City Ballet, the company where women were on pedestals and men their adoring cavaliers.

Adam Sklute was named Artistic Director of Ballet West in 2007, Since then he has expanded Ballet West's repertoire, visibility, and overall outlook with exciting company premieres; increased touring and public exposure and greater focus on Ballet West Academy.

Peter Martins' production of the full-length 'Swan Lake' has always been something of a curiosity to me. So many associate the ballet with intense dramatic overtones, or, in New York City Ballet's one act Balanchine version, with poetic musings, that when we see this version we are puzzled. Yes, the dancers look great, but what else is there? And a 'Swan Lake' that leaves you feeling empty and hollow is not a 'Swan Lake' at all.

The multidisciplinary duo Ximena Garnica and Shige Moriya and the LEIMAY Ensemble return to BAM Fisher with FRANTIC BEAUTY, the newest evening-length work representing the mid-point in their BECOMING pentalogy. Combining the LEIMAY Ensemble's signature physicality layered over vivid visual landscapes, this world premiere reflects on society's pursuit of and relationship to beauty. The piece features an original score by Emmy-winning composer Jeff Beal (House of Cards).

It is always a pleasure to acknowledge a rare, unique voice in the dance world. I say this with pleasure after viewing Jonah Bokaer's 'The Disappearance Portraits' on August 24, 2017, at Cooper Hewitt, Smithsonian Design Museum. I have been following Mr. Boaker's work for a number of years but never had the occasion to write about him. Thus, I now luckily have the opportunity.

Franz Schubert's Winterreise is one of music's supreme compositions of all time. A desolate song cycle depicting a traveler on a savage winter journey through a fierce snowy environment and an anguished mental state, it has long been a favored recital offering by both men, and sometimes women, singers.

A few years ago I bought a recording of Schlagobers, which had been written by the venerable Richard Strauss for the Vienna State Opera Ballet in 1924. I had a difficult time listening to the music-it didn't gel, nor did it leave any imprint on my mind. I suppose there was a reason for it not having many recordings-compare this with Rosenkavalier. I remember doing some research on this project: Strauss was serving as co-director of the Vienna State Opera with Franz Schalk and wanted to raise the prestige of the ballet wing after it had been decimated in the First World War. As a devoted admirer of Diaghilev company, for which he had once written Josephslegende, Strauss went about composing and writing his own libretto for what was to become Schlagobers, choreographed by Heinrich Kröller, who devised a mass spectacle that required 287 costumes at a cost of four billion kronnen, becoming known as the 'billionaire's ballet.' And at a time when inflation was climbing minute by minute.

I don't know if it was me, but attending L.A. Dance Project on June 14, 2017, was a bit dispiriting. If this was an evening meant to deliver the L.A. Dance Project message: 'we're here folks, watch out, we're going to overtake the dance world,' it didn't register. What should have been a strong cold brew was tepid tea.

Broadwayworld Dance recently conducted an interview with Australian ballet dancer Mark d'At Pace, find out about his life and career.

I was very excited to see ABT's 'The Golden Cockerel 'on June 2, 2017. Having heard so much about it, and having read extensively about the Fokine ballet production from 1937, not to mention watching the enticing video on YouTube, I was looking forward to a very magical evening. I can't say that this promise was fulfilled, even if it did offer intermittent pleasures. But after leaving the theater following this two act extravaganza, I began to wonder what exactly it was that ABT had to offer and why they are presenting this piece, as it does not seem destined for a long life in the repertoire-or if it's just waiting to be taped for 'Great Performances' on Channel 13. Or perhaps there is nothing that could be mined from the ballet at all!

Reviewing George Balanchine 'A Midsummer Night's Dream' on Wednesday, May 24 was like visiting an old friend. My father took me to see it as a child soon after it opened in 1962, and while the memory fades as we grow older, Gloria Govrin in the role of Hippolyta bounding around the stage remains steadfast, never diminishing. Thank you, New York City Ballet, for the recollection and for a wonderful theatrical evening.

New York City Ballet's 'All Wheeldon' program, part of the Here/Now series on April 30, was, in most cases, a great success. Wheeldon is now a celebrity choreographer. He is followed everywhere, has received abundant awards for his ballets and Broadway productions. Together with Justin Peck and Alexander Ratmansky, all City Ballet past or present artists-in-residence, he has come to many to represent ballet's future, although what that future is remains a question mark.

Born in Sioux Falls, SD, Mr. Boos relocated himself to NY at 15 to study dance on full scholarship at the Harkness House. Following this, he studied on scholarship at the American Ballet Theater School, and finally the School of American Ballet. It was at SAB, while working extensively with both George Balanchine and Jerome Robbins, that Mr. Boos developed an intimate understanding of the connection between music and movement.

Having been a fan of Scottish Ballet on previous trips to Scotland, seeing them last about eight years ago, I was curious to know how the company had evolved. Then it seemed to be a company in search of itself, some Balanchine, some Massine, some original works. Nothing memorable; on the other hand, nothing glaringly bad. Excellent dancers badly rehearsed, no artistic guidance, or so it seemed. Basically, a company on the verge-of something.

When Angel Corella assumed the position of Artistic Director of the Pennsylvania Ballet and didn't renew many contracts of its former dancers, there was a negative buzz all over. I can't comment on that, since I was not privy to any information, but judging by the performance of his new production of “Le Corsaire” on Sunday, April 20 2017, Corella has my great admiration and respect. In fact, this entire season has been one of artistic excellence and a new shot of creativity with dancers. After a shaky start with Corolla, the company has assumed a role as one of our top companies, something it never quite had in my estimation before.

New York Theatre Ballet's presentation on February 25, 2017, was a dedication of sorts to Antony Tudor and Martha Clarke. If the evening was less than memorable due to the thinness of the material, it did offer glimpses into the minds of two creative artists who have tried, and often succeeded, in pushing the boundaries of pure dance into a psychological state.

Angelo Silvio Vasta is a New York-based filmmaker from Milan, Italy. His work explores the infinite ways choreography and performance can be expressed through moving images. In the past years he has produced a series of short dance films for dance companies and individual dancers both in New York City and abroad. His work includes music videos, short films, video-portraits, and promotional clips. In 2014 he was awarded for his excellence in Visual Design at the 35th Fine Cuts Film Show at The New School in NYC. Angelo received his BFA in International Politics from University of Milan, Italy and his Certificate in Film Production from The New School.

When Aurora makes her first appearance in SLEEPING BEAUTY, the audience usually sits up-there's a murmur, an anticipation. THE STAR is here, and she's in charge for the next two hours. And THE STAR had better be ready. The audience is watching her every move, not to mention her every mishap.

George Balanchine said that 'Allegro Brillante' contained everything he knew about classical ballet in 13 minutes. I would say a bit more, depending on the tempo the conductor is taking for the evening. But putting tempos aside, 'Allegro Brilliante' offers a ballet so rich in form and steps that it's hard to take it all in. I've been watching the ballet for over 30 years, and I still marvel and its invention and the sheer stamina it takes to perform the work.