http://philadelphiadance.org/blog Making dance and dance writing in Philadelphia more accessible to everyone Tue, 21 May 2013 17:45:39 +0000 en-US hourly 1 http://philadelphiadance.org/blog/2013/02/09/review-pa-ballets-balanchine-wheeldon-tharp/ http://philadelphiadance.org/blog/2013/02/09/review-pa-ballets-balanchine-wheeldon-tharp/#comments Sat, 09 Feb 2013 14:58:00 +0000 Kat Richter http://philadelphiadance.org/blog/?p=9716
Soloist James Ihde and Former Principal Dancer Riolama Lorenzo Photo: Alexander Iziliaev By Kat Richter for The Dance Journal With Nutcracker season finally over, Pennsylvania Ballet welcomed the New Year with an eclectic and ambitious program at the Merriam Theatre on Thursday night: Balanchine, Wheeldon, Tharp—three very different choreographers treated to three very different interpretations [...]]]>
Soloist James Ihde and Former Principal Dancer Riolama Lorenzo Photo: Alexander Iziliaev By Kat Richter for The Dance Journal With Nutcracker season finally over, Pennsylvania Ballet welcomed the New Year with an eclectic and ambitious program at the Merriam Theatre on Thursday night: Balanchine, Wheeldon, Tharp—three very different choreographers treated to three very different interpretations by the company. Considering the company’s connection to Balanchine through its founder, Barbara Weisberger, herself a student of the acclaimed choreographer, it comes as little surprise that pieces like Square Dance work so well on the company.  Balanchine’s precise symmetry was well preserved and as the twelve dancers dressed in pale blue sailed across the stage, they seemed to multiply in number. Principal dancer Amy Aldridge nailed the petit allegro with a series of swiveling, syncopated changements on the tips of her pointe shoes.  Her interactions with the racing Vivaldi/Corelli score were so nuanced and subtle that they were almost perceivable—especially with everything else going on onstage—but the audience, ever appreciative, was generous in its applause. Jermel Johnson’s solo, which did not exist in the 1952 version of Square Dance but was added in the 1976 revival, departed from the work’s earlier exuberance with a series of turns landing in deep, arched back lunges and intricate pirouettes untwisting from even more intricate preparations.  It felt out of place in contrast to the sweet and buoyant couples who do-si-doed around the stage, replacing the square dancer’s traditional skips and hops with pique turns and chasses, but it endowed the work with a greater degree of emotional depth. Twyla Tharp’s Push Comes to Shove, unfortunately, didn’t work quite as well.  To say that Baryshnikov is a hard act to follow is, of course, an understatement.  The 1976 classic is as much about the Russian virtuoso as it about choreographer Twyla Tharp, and although Pennsylvania Ballet’s costumes and staging were true to the original, right down to the signature bowler hats, dancer Zachary Hench lacked the necessary panache to do the lead role justice.  He caught all of the off kilter turns and jumps but there was a certain bravado missing from his nonchalance.  Principal Lauren Fadeley seemed to be the only one who “got” the comedic essence of the work, with some help from Julie Diana. The highlight of the evening was actually Christopher Wheeldon’s After the Rain, which premiered in 2005 at the New York City Ballet’s annual New Combinations Evening.  Sandwiched between Balanchine and Tharp, Wheeldon’s work was a breath of fresh air danced by three couples in gradient shades of navy and cobalt blues.  Lined up one behind the other, the three female dancers pitched their weight forward with the support of their partners, lifting one leg to the side until it was parallel to the floor.  They froze, but then their legs descended like the hands of a clock, dropping from three o’clock, to six, then up to twelve pushing the ball and socket joints of their hips beyond their limits. The music of Arvo Pärt was the perfect canvas for Wheeldon’s gravity-defying choreography.  The dancers played in and around the silence provided by the ample space between notes; the violins battled with the piano as the dancers skimmed across the stage, supported on their toes or leaping backwards in space. After the first movement, which left the stage empty, Hench returned to the stage with Diana for a tender, slow motion duet.  Stripped of their blue costumes, the husband and wife pair returned in simple practice clothes; he in a pair of pants and she bare-legged in a plain salmon pink leotard, point shoes discarded and hair unpinned from its tight French twist.  They ambled and meandered, leaning from side to side as the duet—ever steady in its adherence to the three/four time signature— became more expansive in its use of space and bodies before ending in a simple kiss. PA Ballet’s Balanchine, Wheeldon, Tharp at the Merriam Theater, Feberuary 7-10 Kat Richter is a freelance writer and teaching artist.  She holds an MA in Dance Anthropology and is also the co-founder of The Lady Hoofers, Philadelphia’s only all-female tap company.  Her work can be found at www.katrichter.com.]]> http://philadelphiadance.org/blog/2013/02/09/review-pa-ballets-balanchine-wheeldon-tharp/feed/ 2 http://philadelphiadance.org/blog/2013/01/09/pennsylvania-ballet-to-present-balanchine-wheeldon-tharp/ http://philadelphiadance.org/blog/2013/01/09/pennsylvania-ballet-to-present-balanchine-wheeldon-tharp/#comments Wed, 09 Jan 2013 18:30:26 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=9474
Pennsylvania Ballet Principal Dancer Zachary Hench in Twyla Tharp’s Push Comes to Shove. Photo: Alexander Iziliaev Revel in ballet’s boundless potential as Pennsylvania Ballet presents a trio of diverse works with Balanchine/Wheeldon/Tharp, February 7-10, 2013 at the Merriam Theater. “The three choreographers on this program are nothing short of titans in the dance world,” Artistic [...]]]>
Pennsylvania Ballet Principal Dancer Zachary Hench in Twyla Tharp's Push Comes to Shove. Photo: Alexander Iziliaev Revel in ballet’s boundless potential as Pennsylvania Ballet presents a trio of diverse works with Balanchine/Wheeldon/Tharp, February 7-10, 2013 at the Merriam Theater. “The three choreographers on this program are nothing short of titans in the dance world,” Artistic Director Roy Kaiser says. “Their distinct styles will showcase our dancers’ incredible artistic adaptability.” George Balanchine’s Square Dance is a favorite of many dancers. Its title comes from the structure of American folk dance, which Balanchine found made a complementary frame for classical ballet movement. Dancers wear simple leotards and tights, allowing audiences to focus on the artists’ breathtakingly speedy footwork and the brilliant score by Antonio Vivaldi and Arcangelo Corelli. Christopher Wheeldon’s compelling and intimate After the Rain, a Company premiere, showcases inventive partnering and heartfelt emotion. The first section of this piece features three couples. The second, most-identifiable part is a pas de deux. The ballerina is dressed in a pink leotard and her partner is bare-chested. At times they are close and tender with one another, while at other times they are separated and searching for one another, all set to the moving music of Arvo Pärt. The legendary Twyla Tharp anchors this program with the quirky and fun Push Comes to Shove. Originally created for Mikhail Baryshnikov and featuring Tharp’s trademark theatrical style, this piece moves to a lively score by Joseph Haydn and Joseph Lamb and uses a bowler hat as its central prop. Dance Magazine praised this work’s crossover capabilities saying, “Tharp made ballet beautiful in a new way, tough and cool.” Tickets to Balanchine/Wheeldon/Tharp at the Merriam Theater are on sale now, starting at $30. Tickets are available online at paballet.org, by phone at 215.893.1999, and in person at the Kimmel Center Box Office. Balanchine/Wheeldon/Tharp performances at the Merriam Theater: Thursday, February 7 at 7:30 p.m. Friday, February 8 at 7:30 p.m. Saturday, February 9 at 2 p.m. & 8 p.m. Sunday, February 10 at 2 p.m.]]> http://philadelphiadance.org/blog/2013/01/09/pennsylvania-ballet-to-present-balanchine-wheeldon-tharp/feed/ 3 http://philadelphiadance.org/blog/2011/01/07/pennsylvania-ballet-to-present-classic-innovations/ http://philadelphiadance.org/blog/2011/01/07/pennsylvania-ballet-to-present-classic-innovations/#comments Fri, 07 Jan 2011 23:16:28 +0000 Steven Weisz http://philadelphiadance.org/blog/?p=3572
Principal Dancers Amy Aldridge and Sergio Torrado in In the Upper Room. Photo: Paul Kolnik. Three of today’s strongest choreographic voices unite for one cutting-edge program as Pennsylvania Ballet presents Classic Innovations, a showcase of three contemporary works: The Vertiginous Thrill of Exactitude by William Forsythe, Polyphonia by Christopher Wheeldon, and In the Upper Room [...]]]>
Principal Dancers Amy Aldridge and Sergio Torrado in In the Upper Room. Photo: Paul Kolnik. Three of today's strongest choreographic voices unite for one cutting-edge program as Pennsylvania Ballet presents Classic Innovations, a showcase of three contemporary works: The Vertiginous Thrill of Exactitude by William Forsythe, Polyphonia by Christopher Wheeldon, and In the Upper Room by Twyla Tharp. Classic Innovations will be presented at the Merriam Theater at 250 South Broad Street in Philadelphia, February 3-6, 2011. "The three works on Classic Innovations are all relatively modern ballets in that they were created in the past 25 years, but they’ve already earned their place in dance history," Artistic Director Roy Kaiser says. "Forsythe, Wheeldon, and Tharp each put the athleticism and artistry of our dancers at center stage in their own ways. Ballet novices and loyal patrons alike can appreciate this program." William Forsythe's The Vertiginous Thrill of Exactitude makes its Company premiere on Classic Innovations. Employing the last movement Franz Schubert's Ninth Symphony, Forsythe manipulates steps from the ballet classroom into a powerful, contemporary piece. A prolific American-born choreographer, Forsythe created The Vertiginous Thrill of Exactitude while at the helm of Ballet Frankfurt. Vibrant costumes including futuristic, plate-like tutus are a hallmark of this singular work. Bold and stripped-down, Polyphonia, also a Company premiere, has helped solidify Christopher Wheeldo's place among the great choreographers of his time. The polyphony (variety of sounds) of the György Ligeti score is mirrored by Wheeldon's mix of ballet and modern movement. Inventive partnering highlights this abstract masterpiece fashioned for the 21st century. In the Upper Room by the legendary Twyla Tharp is a tour-de-force of energy and finesse. A Phillip Glass score propels this demanding display of continuous, in-your-face agility and stamina. Wearing running shoes or ballet slippers, two groups of dancers shift through a stage filled with billows of smoke, their steps ranging from classical to unconventional. Tickets to Classic Innovations are on sale now, with prices ranging from $20 to $139. Tickets are available online at paballet.org, by phone at 215.893.1999, and in person at the Kimmel Center Box Office. Classic Innovations performances at the Merriam Theater * Thursday, February 3 at 7:30 p.m. * Friday, February 4 at 7:30 p.m. * Saturday, February 5 at 2 p.m. and 8 p.m. * Sunday, February 6 at 2 p.m. Enrich your experience at Classic Innovations with two enlightening lecture series, both held at the Doubletree Hotel at Broad and Locust Streets and featuring a light dinner buffet. On opening night, Thursday, February 3 at 6 p.m., enjoy the brand new Before the Curtain series. Dance scholar Brenda Dixon Gottschild hosts a guest from Pennsylvania Ballet for an insider’s view into the performance. On Friday, February 4 at 6 p.m., don't miss our ever-popular Prologue series, hosted by Artistic Director Roy Kaiser. Tickets to Before the Curtain or Prologue can purchased in addition to your Classic Innovations performance ticket for $30 each by calling 215.893.1999. Reservations must be made no later than January 24, 2011. Groups of 10 or more receive great discounts and unique perks! Ask about special talks with staff and dancers and dining options near the theater for your group. For tickets and more information, contact Group Sales Manager Arajua Backman at 215.587.6921 or abackman@paballet.org. A note to patrons: a water-based fog is deployed inside the theater during In the Upper Room. The William Penn Foundation has provided support for the Company premieres of The Vertiginous Thrill of Exactitude and Polyphonia. The Company premieres of The Vertiginous Thrill of Exactitude and Polyphonia and performances of In the Upper Room are made possible by support from the National Endowment for the Arts. Pennsylvania Ballet's 2010-2011 Season sponsors include The Omni Hotel at Independence Park, The Philadelphia Inquirer, The Sporting Club at the Bellevue, and US Airways. Pennsylvania Ballet receives support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, and the Pennsylvania Department of Community and Economic Development. Founded in 1963 by Balanchine student and protégée Barbara Weisberger, Pennsylvania Ballet is one of the nation's leading ballet companies. Headquartered in Philadelphia, the Company's annual local season features six programs of classic favorites and new works, including the Philadelphia holiday tradition, George Balanchine's The Nutcracker™. For more information, visit paballet.org or call 215.551.7000.]]> http://philadelphiadance.org/blog/2011/01/07/pennsylvania-ballet-to-present-classic-innovations/feed/ 0