Friday, September 30

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A review of Fall for Dance by Gia Kourlas in The New York Times.

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The fourth program of Fall for Dance, New York City Center’s affordable festival of mixed bills, had more going for it than others: a duet for Robbie Fairchild and Sara Mearns, who danced together so magnificently with Twyla Tharp last year; a New York premiere by the rising choreographer Abby Zbikowski for Dayton Contemporary Dance Company; and a highly anticipated taste of Ukrainian dance in the form of Kyiv City Ballet.

 

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A preview of Ballet Tucson's new season.

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For Margaret Mullin, new artistic director for Ballet Tucson, the piece helps achieve her vision: a company that moves seamlessly between the traditional and contemporary, giving local ballet fans a chance to enjoy the art form’s past while looking ahead toward its future.

 

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Sacramento Ballet's "Beers and Ballet" series returns.

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But the event series isn’t the only thing the company is planning to celebrate the launch of the season — Sacramento Ballet is also announcing their Second Company program that aims to foster growth opportunities for dancers.

CapRadio’s Insight Host Vicki Gonzalez spoke with Artistic and Executive Director Anthony Krutzkamp about the upcoming season and the details of the second company.

 

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A review of New York City Ballet's "Play Time" by Michelle Hyun Kim for Pitchfork.

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All the more fitting for Solange, a sartorial icon, was that this particular evening was dedicated to the merging of fashion and dance; as with every annual Fall Fashion Gala, the NYCB tapped high profile designers for inventive costuming. For “Play Time,” Reisen collaborated directly with Spanish menswear designer Alejandro Gómez Palomo, inspired by his genderless, deconstructed suit forms. His clothes had a romantic Wall Street vibe that Reisen was attracted to, and she felt that these “angular shapes could translate well to the ballet stage,” she explained in the program’s opening video. To boost the extravagance, Reisen and Palomo decided to encrust each pinstripe with Swarovski crystals, with around 800,000 gems used in total. After colorful costumes were brought to Solange to inform her score, Reisen came up with the choreography based on her collaborators’ bold offerings, resulting in a singular piece that pushed hard into exuberance and whimsy.

 

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Boston Ballet revamps its Turning Pointe networking event.

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The Boston Ballet recently turned its annual corporate networking event into a showcase for dance, innovation and technology. According to Sen, the goal of the event was to put together a new kind of corporate event that expose attendees to innovation in ballet, and gets them involved in this work.

 

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A review  of Fall for Dance by Gia Kourlas in The New York Times.

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Wearing sheer costumes by Harriet Jung and Reid Bartelme that accentuated the subtle mastery of their bodies, Mearns and Fairchild danced together and apart, melding classical technique with light, casual touches — a flexed foot, a swivel of the hips, a sideways glance. What was breathtaking was Mearns’s ability to trust her own presence, not to act emotion but to let emotion filter through her, and Fairchild’s unpretentious sophistication as his maturity deepens his dancing. It was lovely.