UNITE Ballet Festival at The Joyce.

[DPell]

https://www.joyce.org/pQYgJUG/ballet-festival---unite

The Joyce Theater's Ballet Festival returns this summer with UNITE, a one-week celebration of the long bright line of ballet. Creatively directed and co-produced by Calvin Royal III, Principal Dancer with American Ballet Theatre, this year's festival brings together a global community of distinguished artists from nine esteemed companies across five continents, spanning four generations, a beautiful array of ethnicities all to share and celebrate our collective humanity through dance. 

UNITE also connects the arc of ballet with the best of its present and future artists and master choreographers with works by Sir Kenneth MacMillan, George Balanchine, and Angelin Preljocaj and a selection of contemporary, New York and world-premiere works. Adding to the festival's allure, Royal debuts a self-choreographed solo alongside creations by fellow dancers of American Ballet Theatre, Alonzo King’s LINES Ballet, Boston Ballet, and more. 

“As The Joyce represents ultimate artistry and dance legacy, it is important to me that the Festival evenings, taken together, honor the past; reflect the present; and extend to the future of what our art form can be,” says Royal.

 

[DPell]

https://www.nytimes.com/2024/08/12/arts/dance/calvin-royal-unity-ballet-festival.html?unlocked_article_code=1.C04.qrvK.tmwON2GWWcGT&smid=url-share

[matilda]

I caught the show (Program A) at the Joyce last night. It was enjoyable evening and I recommend it especially for ABT fans who want to see some of these dancers in a more casual, intimate venue -- and at closer range than Lincoln Center. 

Calvin Royal curated the show and danced in three pieces that I think highlighted both his strengths and weaknesses. The excerpt from Apollo, opposite Chyrstyn Fentroy from Boston Ballet, was lovely. Royal also performed a solo that he choreographed for himself to Debussy's Clair de Lune, which played well to his expressive and lyrical movement quality. And for those in the audience aware that the pianist, Jacek Mysinski, is Royal's husband, the piece felt extra moving.

Tchaikovsky Pas de Deux opposite Chloe Misseldine ended up feeling, at least to me, like one of those more awkward "ABT doing Balanchine" attempts at times, but it was still enjoyable and exciting. I doubt they got much coaching. Royal is not a virtuoso, although he got through the solos and handled the fish-dive catches very well. Misseldine was very good both technically and lyrically; my only gripe was that she made too many facial expressions for this kind of abstract work. 

The best performance of the evening was the Manon bedroom pas danced by POB's Sae Eun Park and Paul Marque. ABT, please bring this one back!

I also enjoyed Isabella Boylston and James Whiteside in Rozzi Suite, which featured the excellent singer/songwriter Rozzi live on stage. This was a big crowd pleaser and was perfect for the Joyce stage. 

The weakest pieces IMO were the very arm-wavy solo danced by Herman Cornejo (choreographed by Jae Man Joo) and an overly serious, meandering work by Duncan Lyle danced by ABT corps dancers Kyra Coco, Ingrid Thoms, Duncan MacIlwain, and Tristan Brosnan. It great to see these young dancers featured -- rather than in the back of the corps -- and Coco was a standout. But there were some sloppy partnering moments and the choreography and costumes made the performance feel student-like. 

Edited August 16 by matilda

[abatt]

Agree that the Manon pas was the best work on the program.  No contest. It was brilliantly danced.  How I miss seeing international ballet stars perform here in NYC.

 

The Tschai pas was certainly a mixed bag.  Calvin did an easier variation for one of his solos than what we usually see.  Chloe also used an easier variation for her fouette sequence compared to what we see at NYCB most of the time.   All in all, I much prefer NYCB in this work. 

The Apollo pas was well done.  I recall seeing Calvin in this at ABT and  enjoyed it.   I think he had also done Apollo in Vail a few years ago.

 

The rest of the program was largely forgettable.  In fact some of the choreography looked very amateur. When Herman was up there waving his arms around and rolling on the floor to Bach's cello music, all I could think of was how this was so disappointing.  I can't wait for the NYCB spring season when Robbins' masterful Suite of Dances, set to Bach's cello concertos, returns to the rep. 

 

 

[nysusan]

I also went last night and pretty much agree with matilda and abatt. The Manon pdd was definitely the highlight for me, what incredible dancers! I enjoyed the Duncan Lyle piece Night Pieces. It didn't blow me away but I enjoyed it and it was nice seeing the ABT corps dancers in featured roles.

 

I have always had issues with Royal as a dancer. To my eye his arms & legs were floppy, he didn't always stretch his extensions or point his feet - and when he did point them they were often sickled. I still see some of that in his dancing but not nearly as much so at this point, for me,  his lyricism & expressiveness outweigh his weaknesses. His Apollo pdd was lovely. He wasn't a technical marvel in Tschai Pas but he was solid and I really loved Misseldine in this. She was lyrical but also very fast and actually jumped into the fish dives.

 

I also really liked the ballerina from LINES ballet - Adii Cissoko. She was tall with gorgeous lines & extensions.

 

The rest of the program was ok with the lowlights for me being Cornejo's solo and Whiteside's piece

[Royal Blue]

Even if Herman Cornejo keeps dancing for the next half dozen of years or so at ABT, criticism (often from erstwhile staunch fans) will be directed at him, and he will be perceived as a dancer in the twilight of his career. There is darkness and mist floating on the stage during the excerpts from Flight, which is part of the first program of the "Unite" Ballet Festival curated by Calvin Royal III at the Joyce. Add to this the thought of a lone cellist playing somewhere the compositions of Johann Sebastian Bach—a titan of classical music who lived in distant times and was inclined to inscribe at the end of his music manuscripts a religious mark. Although I am not sure about the choreography, the intensity Cornejo brought to his performance as well as the exceptional ambience emanating from the combined things listed above made me reflective of the peculiar power and resonance of the type of solo that appears—from the vantage point of the audience—like a dancer's existential cry from the heart towards the cosmos.

There were a couple of other solos in this program, of which Moonlight danced by Royal to Debussy's magnificent but overly familiar "Clair de lune" was the most engaging and concise. 

The opening of the program, Apollo Solo and Pas de Deux, was as satisfying as I anticipated beforehand, but only served to whet my appetite for viewing the entire ballet again. 

Generally speaking, everything performed at the Joyce is well applauded by the audience. Nevertheless, I emphasize that the Manon Bedroom Pas de Deux performed by the Paris Opera Ballet étoiles was warmly received by the crowd. For me, it was unpersuasive and totally underwhelming. Yet another example of how seasoned ballegoers will sometimes perceive the same performance quite differently. Nobody wishes to view a ballet performed on stage with striking missteps and errors. However, solid technique by itself will never, ever be enough for some who regularly attend ballet. 

There was, indeed, occasionally shaky partnering in Duncan Lyle's Night Pieces. Otherwise, this was the only work in the program redolent of classical ballet. From the music by Robert Schumann to the lighting, the costumes, most of the dancing, and the outward appearance of each of the four ABT corps members in the cast, everything was lovely. Even if it is derivative and by no means to be compared to the greatest specimens of the art form, I can never be indifferent to the loveliness found in a traditional ballet. As it became clearer later in the program, the contour of Kyra Coco's somewhat thin frame makes her appear too young and is incongruous with her sophisticated and enchanting physiognomy. Nevertheless, every sign of her performances I have seen at the Joyce points to her superb ability as a ballet dancer. The height of Ingrid Thoms evidently makes her more challenging for partnering, but she is definitely likable too.  

My expectation was that the Tchaikovsky Pas de Deux with Chloe Misseldine and Calvin Royal III would prove delightful, despite the height of both and their relative inexperience with the Balanchine repertoire. And so it did. Comparing it to the best performances of a work performed frequently by NYCB and the level of virtuosity displayed by that company's dancers is unnecessary, for me. This type of ballet virtually demands smiling faces from the dancers and looking at the audience, so Misseldine's expressions were not bothersome either. She is talented and clearly ambitious, with her long limbs, captivating eyes and visage, and precise dancing making her look—during most moments of this popular pas de deux—beautiful. 

By far, the most pleasant surprise of this program was James Whiteside's Rozzi Suite. Having the singer herself (whom I did not previously know and whose voice and music proved congenial) perform live on the stage was simply fantastic. Vibrant, sultry, authentic, dedicated, rousing—all aptly describe the dancing by both Isabella Boylston and Whiteside in this. In the best possible way, the performance seemed off the cuff and made one savor the occasion of watching it inwardly. 

[RUKen]

On 8/16/2024 at 11:00 AM, abatt said:

The Apollo pas was well done.  I recall seeing Calvin in this at ABT and  enjoyed it.   I think he had also done Apollo in Vail a few years ago.

Yes; his partner in Vail was Unity Phelan.  (I was not there; I watched it online.)

[DPell]

I caught Program B at yesterday's matinee. I loved seeing Touche again, especially in such an intimate venue. The other highlights for me were Paul Marque and Sae Eun Park in Le Parc, I wish I could have made it to see the other program to see them do the Bedroom Pas from Manon, and Luigi Crispino in Turning to the Light

[MarzipanShepherdess]

Saw Program A Saturday night.  Kudos to Royal for curating and producing a very enjoyable evening. I also loved that he found ways to bring live music to the Joyce, with the solo violin and piano works as well as the live singer onstage for one work.

I really enjoyed Royal both in Apollo and in the solo he choreographed to Clair de Lune.  He's so expressive and graceful, and he radiates a real joy in his dancing.

Of the ballerinas, Adji Cissoko of LINES ballet stole the show in her all-too-brief appearance in a pas de deux from Alonzo King's Single Eye.  There's a rare intensity to her focus, a fierceness and a fluidity, that reminds me of Sara Mearns. And at the risk of being  corny: she's got -great- lines.  Really bummed I couldn't catch her in the solo she choreographed that's part of the other program.

Chloe Misseldine looked elegant and assured in Tschai Pas, no surprise.  Kyra Coco stood out for her presence and finesse in the two pieces she danced in.  I didn't feel her ABT corps colleagues looked ready to be showcased in such exposing choreography, unfortunately: there were partnering errors as others have mentioned and a kind of choppiness in their phrasing where Coco was fully drawing out the phrases and finishing them with polish.  Hope ABT gives her more opportunities in featured roles, she's ready for them.

Mixed feelings about the Manon pas de deux.  Park and Marque are certainly very accomplished and confident in these roles.  However I missed, in Park especially, the expression and emotion great dancers can imbue Manon with.  She was IMO too blandly smiling.  That pas de deux can be a real fireworks moment, but the passion didn't seem to be there.  I really cherish my memories of Diana Vishneva and Marcelo Gomes in this pas de deux, who made it into a tempest of desire and wild emotion.

I enjoyed Rozzi Suite, which James Whiteside choreographed and danced in with Isabella Boylston.  The choreography is showboaty and can at times feel like a series of tricks strung together, but Whiteside and Boylston can really knock that kind of thing out of the park so it's a fun piece.  Whiteside is dancing the best I've ever seen him this year: technical prowess is back post-injury and he showed a powerful dramatic chops in Onegin that I hadn't seen from him before.  He looked great in this piece, as did Boylston especially in her sassy finale solo.  I'd like to see her in more roles that showcase this side of her personality: fierce, playful, fun, but ABT rep is kind of thin on that score.

[BalanchineFan]

I enjoyed the Unite evening at The Joyce. It's rare to see ballet dancers up so close for an entire performance. Calvin Royal III put together a very nice program. Aside from the Balanchine pieces, a MacMillan ppd and the excerpt from Alonzo King, the choreography was a bit thin and the performances shone brightly, but I expected that. Dancers on vacation doing their own choreo, or shorter pieces that were made on them or chosen for the occasion. Have pointe shoes, will travel.

The worst of the choreo was Duncan Lyle's Night Pieces. The beginning movement phrases were set exactly to the music with the dancers, two couples, beginning and ending each phrase side by side in B+. It was incredibly static. ABT doesn't seem to have a lot of support for dancers who want to choreograph. They might invest in a few programs similar to The Choreographic Institute, affiliated with NYCB, which is producing much more interesting work.

Adjii Cissoko is a true gem. I'd see her dance more often if I could figure out how. What gorgeous facility and technique. What an incredible instrument, with her mile long legs and flexibility. I'd never seen her perform with the sharpness displayed in the Alonzo King ballet, Single Eye. Interesting partnering and lifts, surprising shapes and movement dynamics, from sharp to more lyrical.  The only issue was that the excerpt was unsatisfyingly brief. She was partnered by another Lines dancer, Shuaib Elhassan.

Herman Cornejo has so much charisma, he could practically dance the phone book and mesmerize a full house. Flight, choreographed by Jae Man Joo, had more to offer than your average phone book, slides and changes of direction and feel. there are a few more virtuostic moments. Cornejo brought a lot to it. I also enjoyed Aleisha Walker's piece, Impatiens. She is lovely, very clear port de bras, lovely lines, dancing onstage with a violinist. They moved around each other in a way that kept your attention.

Ariana Pierce's duet danced by Kyra Coco and Ingrid Thoms, Petalwing, was mostly interesting for having two women dance together on pointe. There was a bit of light partnering and interesting shapes, but somewhat thin choreographically. Pierce founded the Queer ballet to increase the scope of ballet to include queer artists. I hope she keeps going. 

I loved Royal's piece to the Debussy. It really plays to his lyrical strengths.

Tschaikovsky Pas de Deux was ably danced. I was happy to see Chloe Misseldine for the first time. She's a beautiful dancer. One shouldn't expect too much from non-Balanchine dancers in his oeuvre, but it was nicely done. Her extentions are high and she doesn't have the organization throughout her body (a strong enough core?) to fully throw herself into the faster, larger movements, but it all went quite well. Also, in some ways, it's a lesson in what the many Balanchine specialists are actually accomplishing onstage. I had a few notes for them, but the performance was a a credit to them and very enjoyable.