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NY City Center Fall for Dance 2018

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Program 1—Mon Oct 1 & 2
Boston Ballet  Bach Cello Suites* (NY Premiere)  Jorma Elo
Sara Mearns  Dances of Isadora—A Solo Tribute  Lori Belilove, after Isadora Duncan
Caleb Teicher & Company  New York City Center Commission (World Premiere)  Caleb Teicher
Cie Hervé KOUBI  The Barbarian Nights*  Hervé Koubi

Program 2—Wed Oct 3 & Thu Oct 4
Paul Taylor Dance Company  Black Tuesday  Paul Taylor
Gemma Bond Dance  PRIVATE BEHAVIOR, New York City Center Commission (World Premiere) Gemma Bond
Pam Tanowitz Dance  New Work for Goldberg Variations* Pam Tanowitz
Justin Peck  New York City Center Commission (World Premiere)  Justin Peck

Program 3—Fri Oct 5 & Sat Oct 6
Tayeh Dance with Heather Christian  New York City Center Commission (World Premiere)  Sonya Tayeh
Dance Theatre of Harlem  Balamouk, New York City Center Commission (World Premiere)  Annabelle Lopez Ochoa
Nederlands Dans Theater 2  Midnight Raga (US Premiere)  Marco Goecke
National Ballet of China  The Crane Calling* (US Premiere)  Ma Cong & Zhang Zhenxin

Program 4—Wed Oct 10 & Thu Oct 11
INTRODANS  Canto Ostinato  Lucinda Childs
Tiler Peck, Lil Buck & Amar Ramasar  Petrushka, New York City Center Commission (World Premiere)  Jennifer Weber
Herman Cornejo & Alina Cojocaru  Excerpts from Rhapsody  Frederick Ashton
Rennie Harris Puremovement - American Street Dance Theater  Funkedified*  Rennie Harris

Program 5—Fri Oct 12 & Sat Oct 13
Ballet Hispánico  Con Brazos Abiertos  Michelle Manzanales
Junior Cervila & Guadalupe Garcia  TANGOS  Junior Cervila & Guadalupe Garcia 
Acosta Danza  El Cruce sobre el Niágara Marianela Boán
Alvin Ailey American Dance Theater  Stack-Up  Talley Beatty

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Thank you for posting. All sounds wonderful, but one thing that leaps out to me is Cornejo and Cojocaru dancing an excerpt from Ashton's Rhapsody. I always thought ABT should have have acquired that ballet for Cornejo when he was at the height of his career and alternate casts might have included other top male dancers who have since retired or departed. Any opportunity to see Cojocaru is a treasure.

Looking forward to reading about all of these programs.

Edited to add: I have tickets to see Dance Theatre of Harlem about two weeks after they dance the Lopez-Ochoa premier in New York--their program in Atlanta has not, as far as I can tell, been announced anywhere, but I'm hoping they bring that work with them.

Edited by Drew
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Not fall but April 3-6, Osipova and Hallberg will be performing 



The Russian star reunites with special guest ABT principal David Hallberg, with whom she has shared a fabled stage partnership. The pair exhibits their sublime chemistry in a piece created for them by Alexei Ratmansky, one of today's preeminent choreographers, and in the duet from The Leaves Are Fading by Antony Tudor. In Six Years Later, choreographed by Israeli Roy Assaf, noted for his earthy, sensuous movement, Osipova is joined by renowned contemporary dancer Jason Kittelberger (Cedar Lake, Sidi Larbi Cherkaoui's Eastman). She also pairs with Jonathan Goddard (Richard Alston, Scottish Dance Theatre) in a commissioned premiere by Spain’s Iván Pérez, who creates expressionistic dances full of experimentation.


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On 8/20/2018 at 4:28 PM, bcash said:

Wow, a lot of new works. I share the excitement over Cojocaru and Rhapsody. But I have no idea what Rennie Harris and American Street Dance Theater are about.

Harris has been working with breakdancing styles in concert dance for many years -- he's made some astonishing things.  Go see, and let us know what you think.

On 8/28/2018 at 3:01 AM, Deflope said:

Yes, but not a part of the Fall for Dance festival...

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3 hours ago, abatt said:

Did anyone see Herman Cornejo and Alina Cojocaru at FFD last night?  Reports?

Yes... they were stunning. I'm mostly unfamiliar with Ashton and I was able to appreciate him more watching Cornejo/Cojocaru last night than with Sarasota Ballet this summer. The staging was short and sweet; a few solos full of bravura tricks from Cornejo, and a small live orchestra onstage. Cojocaru has beautifully arched feet and she really brought out the choreography with her fast, light footwork. 

That piece, plus Petrushka with Tiler Peck/Lil Buck/Brooklyn Mack were the best parts of the evening. The latter updated the "petrushka" theme with  juggalo-inspired makeup -- interesting fusion of classical and contemporary, with Tiler on pointe. As for Lil Buck, WOAH! I have never seen anybody move like that ... he manages to make his body look like a distorting digital graphic. Very surreal. 

The other two acts were blah... dancers were all talented and the break dance piece was fun to watch, but both lacked the sophistication and extra edge of the other two. 

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He's getting paid and is getting seen by audiences that probably didn't know he exists, but I'm not a fan of the Lil' Buck/ ballet collaborations. Ballet has an infamous habit of exploiting dancers in other dance forms in an attempt to appear more artistically or culturally "woke" than they actually are, or are expected to be. It's an attempt to wear pop culture like a cloak of hipness. And this form of slumming with their so-called artistic lessors gives them an excuse to not bother with actually expanding  and advancing their own art form. 

You know ballet is stuck in a self-reverential time warp when the big news is that Freed of London is  now making brown and bronze-colored pointe shoes. 





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On ‎11‎/‎14‎/‎2018 at 7:54 AM, Tapfan said:

You know ballet is stuck in a self-reverential time warp when the big news is that Freed of London is  now making brown and bronze-colored pointe shoes. 

Gaynor Minden started doing this a few years ago, but suddenly Freed does it, and the media goes viral with their "wokeness". 

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