Just before Tom Gold's piece, the last one, began, my friend and I had been bemoaning the fact that so much new ballet choreography is angst-filled, dark, with twisting and running substituting for footwork and port de bras.
Then the (creaky!!) curtain opened, and Lo! Color, Light, Joy, Attitude, Speed, Attack, and real FOOTWORK! Gargouillades, even, and a very interesting pirouette with a flexed foot.
I know what Leigh means by choreographing what feels good to a dancer, and while I am not trained as a dancer or choreographer, I don't think that's what Tom did. I feel that Peter Martins does that with most of his ballets with all that running, running, running and little else (except for the knotty pas de 2's).
Tom had interesting tableauxs, entrances and exits, and a pretty good balance between the principals and the corps (except for overworking Sean, also one of my fave raves). I liked his sense of fun, and the witty take on the Asian side-to-side head: a clever substitute for the real thing.
He also used the music well (though not perfectly) and responded to the North African/Klezmer folk essences that floated through it. And I agree with SingerWhoMoves and Klavier about their positive resonses to it.
I'm really proud of Tom, and hope he does more. He's a very bright, but modest artist.
New Ballet Choreographers: Gold, Liang & ReederNYCB and ABT Studio Co. at Miller Theater
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