Christina Pandolfi - Page 2

In the history of classical ballet, it's hard to find a pair more perfect than Balanchine and Tchaikovsky. Balanchine's choreographic style, defined by quirky syncopations and dramatic port de bras, punctuates the longing percussions of Tchaikovsky's scores. The exchange of movement and music is a call and response; a mutual muse that appears when beckoned. This is the best way to describe New York City Ballet's artistry on the evening of January 29, 2018. As the dancers took the stage for three Balanchine classics, you could feel both the tradition of precedent and excitement of modernity in the air.

Who are you? How do you present to the world? And what do you keep to yourself? Arthur Pita's spellbinding rendition of “The Tenant” explored these very questions on its opening night, November 6, 2018 at the Joyce Theatre. Set to a titillating original score by Frank Moon, “The Tenant”, based on the novel and film of the same name, documents Trelkovsky's (James Whiteside) terrifying journey of destruction and self-realization as he is subsumed by his apartment's former resident, Simone (Cassandra Trenary).

On the evening of October 17th, American Ballet Theatre kicked of its much-anticipated fall season at the David H. Koch Theater. Dedicated to celebrating the power and innovation of female choreography, the night welcomed a bevy of audience goers, from everyday ballet enthusiasts to arts advocates to well-known celebrities. With the mood in the air being electric, sparkling with the promise of anticipation, the program had to deliver with bold excitement.

In a time when so much feels shallow and temporary, it's a joy to come back to something warm and familiar. In this case, that sweet nostalgia came from the 15th anniversary of the celebrated Fall for Dance Festival at the New York's historic City Center. With five different programs featuring a variety of choreographers and dancers, Fall for Dance is the best representation of dance we have in the modern world; not only does each piece reveal something new, but it shows us the parts of ourselves we don't often show to the world.

It's common for an evening of dance to entertain and delight the senses. But it's rare when it creates an immersive experience that enhances every sound and sight you encounter. And on the evening of July 25th 2018, the company of MOMIX did just that. For more than 38 years, MOMIX has dazzled local and international audiences alike, not only with their command of classical and modern technique, but by incorporating elements of the real world into their repertory.

At its best, artistic expression makes us question our humanity. It brings us on a ride of color, light, and rhythm to teach us something new about who we are and how we relate to the world. And on the evening of June 27, 2018, Cherylyn Lavagnino Dance (CLD) captured a piece of that magic at the NYU Tisch School of the Arts Jack Crystal Theater.

As the undeniable standard of beauty and romance, Shakespeare's Romeo and Juliet means something different to everyone. Whether you first read it in school or watched one of the many film versions, the Bard's most prevailing work never fails to inspire unimaginable longing. And on the night of June 13th, 2018, American Ballet Theatre brought this classic story to the stage, taking the audience on a complete sensorial journey of love and loss.

Bold. Miraculous. Spellbinding: these are just some of the words that come to mind when describing Parson Dance's residency at The Joyce Theater. A company known for its rule-breaking choreography and impressive style, they continued to exceed expectations last Tuesday evening at a program honoring iconic composer Stephen Schwartz.

As the weather warms up, the flowers stretch from their soil towards the sun in all their glory. So do the dancers of New York City Ballet. On May 1, 2018, the company celebrated the experimental prowess of great 21st Century Choreographers in a three-piece program to showcase both the present and future definitions of “ballet.”

So often, dance is portrayed as a mysterious enigma, dramatic and otherworldly through overly complicated choreography and a hard-to-follow backstory. As a result, its magic can get lost in translation. But at BalletNext's spring season at New York Live Arts, pure joy was served as the appetizer, entrée, and dessert in a spirited program curated by former American Ballet Theatre dancer and BalletNext Artistic Director, Michele Wiles.

It's easy for a premier ballet company to delight and amaze, but it's even more exciting when they leave you surprised, and on February 1 2018 at the David H. Koch Theater, New York City Ballet did just that. With an eccentric program that ran the gamut in both content and cadence, it was the world premiere of “dance odyssey” that ended up stealing the show.

It's no secret that it takes a spark to light a match: it's science. But have you ever thought about what it actually takes to create fire? The precision. The delicacy. The power. Its very ignition from flicker to flame is a dance; a spectacle of light and movement that entertains to its very last flare. And on the evening of November 15th at The Joyce Theater, Complexions Contemporary Ballet personified the very best of this kind of excitement, lighting up the stage with one-of-a-kind passion and fervor.

As the audience filled the David H. Koch Theater on Oct 24, 2017 to watch American Ballet Theatre's fall season, one thing became very clear: Appreciation for classical ballet is alive and well in New York City. In a time of great global uncertainty and turmoil, having the arts to go back to is an immense comfort, because we can see ourselves in it: the good, the bad, and the yet-to-be-discovered. And in this season's selections, American Ballet Theatre proved that completely, committing to showcasing the beauty of balance between polar opposites.

New York City staple Fall for Dance Festival kicked off this year on October 2 with Program A at the famed New York City Center. A true celebration of global dance and all of its many facets and layers, this year attracted the likes Alvin Ailey American Dance Theater, Dorrance Dance, and Trisha Brown Dance Company how can any dance lover not be excited about that?

On October 1, 2017, the NYU Skirball Center was atwitter with a who's who of the global dance community at the Bright Lights Shining Stars Gala, celebrating the incredible New York Dance Alliance Foundation and paying homage to the recipient of their Ambassador for the Arts award, Ann Reinking. Broadway actors and dancers alike lit up the space with undeniable sparkle and the excitement was truly contagious. At a festive pre-show cocktail hour, Joel Grey stopped for pictures and Amra-Faye Wright and Dylis Croman chatted sweetly in the corner. But the room quieted as the incomparable Ann Reinking lithe and impossibly graceful walked in. She stopped for conversation and photos, and as I looked around the room, I noticed that every single person was beaming with admiration. In that moment, I knew that the evening was going to be very special.

On September 30, 2017, the David H. Koch Theater pulsed with excitement, anticipating the start of Peter Martins' rendition of Swan Lake. A New York City Ballet staple, the company first premiered this production 18 years ago. But with such crisp movement and staging, you would think it was the very first time.

On Sep 7, 2017, the American Dance Guild kicked off their 4-day festival at The Ailey Citigroup, marking 60 years of dance innovation with a promise to 'celebrate diversity'. Honoring dance visionaries Garth Fagan, Martha Myers, and the Thunderbird American Indian Dancers, the mood was light and joyful; you could really feel the lingering excitement in the air, anticipating the incredible dancing to come.

To leave a permanent mark on the cultural landscape is a lifelong motivation for any artist. But for accomplished American Ballet Theatre Principal Dancer James Whiteside, one medium simply can't contain his high-watt creativity. As a pop singer, choreographer, and storyteller, James seems to find inspiration wherever he goes.

It's always a bittersweet feeling when a company ends its season, and in the current political climate, one can never take the arts for granted. But on Friday July 7, 2017, the Metropolitan Opera House was atwitter with the promise of American Ballet Theatre's program dedicated to Tchaikovsky. Pre-show, the audience crackled with uproarious excitement, perfectly in keeping with the dazzling, multi-layered nuance to be found in the breadth of Tchaikovsky's compositions.

For 37 years, MOMIX has defied traditional boundaries in both choreography and set design, but it expands far beyond that. Moses Pendleton and the entire company are notorious for consistently creating complex, dizzying universes and inviting the audience to join their new realities. And one thing is certain: Every ride is an incredible, unforgettable journey.