Christina Pandolfi - Page 3

Ethan Stiefel is a household name. Considered one of the greatest American male ballet dancers of all time, it was Stiefel's explosive energy that lit up countless stages all over the world. But since his retirement from American Ballet Theatre in 2012, Stiefel has dedicated his artistic life to inspiring the next generation of dancers. As Dean of the School of Dance at UNCSA, to Artistic Director of the Royal New Zealand Ballet, Stiefel has helped shape the present—and future—of dance as we know it.

It's no secret that Stephen Petronio is a pillar of the dance community. Since his early days working with Steve Paxton and Trisha Brown, Stephen Petronio has been creating, dancing, and sharing his gift with the world, challenging audiences to expand their expectations and tap into the immensity of possibility. 'In the 1980s, [being vocal about] being queer was...not that usual, so I wanted my queerness to be in my body and in my style...I [also] think popular culture was very much on my mind because it was in a moment that I thought dance could break through to a different audience.'

What did our critic think of WADEintoACTIVISM EXPLORES THE POSSIBILITIES OF DANCE'S GREATER GLOBAL IMPACT?

What did our critic think of REVIEW: SARASOTA BALLET BRINGS THE DRAMA TO THE JOYCE at The Joyce Theater?

What impact does social class have on the relationships we forge with other people? And what becomes of those relationships when forces beyond our control take effect? These are a few of the many questions examined inThe Orchard, a modernized, high-tech adaptation of Anton Chekhov’s The Cherry Orchard. Shown at the Baryshnikov Arts Center, the cast is led by the man/myth/legend himself, Mikhail Baryshnikov, and the strikingly-sophisticated Jessica Hecht.

They say the neon lights are bright on Broadway. On May 23, 2022, Town Hall’s tribute to show business of the past—BROADWAY BY THE YEAR—proved just that. From the glitz and glamour of the musical revue, to updated standards from beloved jukebox musicals, this one-night-only spectacle delivered on powerhouse vocalists, exciting dance numbers, and a celebration of “everything old is new again.”

It’s been a long 2 years. The world has been in a constant state of uncertainty, as we still find ourselves in the midst of social, political, and medical turmoil. Yet art, in all its forms, is both the mirror and the escape for these collective woes. It shows us who we are, helping us make sense of our reality. But it also allows us to succumb to pleasures of the senses, even if only temporarily, to bask in what could be. With such a tried-and-true legacy at The Joyce Theater, Stephen Petronio Company returned to the familiar on May 17, 2022 to remind us all of just that, exemplifying that “dance is a kind of social glue that keeps all us connected.”

It’s weird and wonderful to be in the theatre again. These days, everything looks different—the way you enter; IDs and vaccine cards in hands, security guards keeping everything in order. But once I step into The Joyce Theatre to see Complexions Contemporary Ballet, it all felt perfectly familiar. Fellow art lovers, buzzing about, expressing their excitement and passion all behind masked faces. A compilation of contemporary music flooded our eardrums before the start of the show. Perhaps an unexpected choice at first listen, but as ‘Losing My Religion’ played, it all made perfect sense to frame what we were about to see.

During this present time of great cultural and political strife, the world at large is yearning for humanity—for honesty, for truth, and for authentic connection. It's why more so than ever, creators are inspired to bring this to life in their chosen mediums to give audiences a greater sense of meaning. At this year's Association of Performing Arts Professionals presentation (APAP), Cherylyn Lavagnino Dance (CLD) did just that. Lavagnino, the company's artistic director, explained to the audience how she first finds her inspiration through music and creative collaboration to bring this sense of authentic connection to the stage.

The word “romantics” is defined in many ways: “a person with romantic beliefs or attitudes,'; “a writer of the romantic movement,'; “having no basis in fact.' Despite the different definitions, the concept of romance is always rooted in a feeling of extreme love and passion. And it's this exact kind of feeling that the company of American Ballet Theatre brought to the stage to make a statement about what romance means—and looks like—in the 21st Century.

Thoughtful. Provocative. Exciting. Moving. Hilarious. This is how I would sum up Program C of Ballet Festival, performed at The Joyce Theater last Thursday night, August 15, 2019. Curated by Jean-Marc Puissant, the program consisted of three classical and contemporary pieces, diverse in both emotional and technical truths. Additionally, the caliber of dancing on this particular evening was superb–and not just because of the quality of the dancers themselves, but also because of their impeccable timing and synchronicity. Everybody was truly on their game.

A small, young girl (Serena Parrish)-tattered and dirty-walks across the living room of a cabin. She's holding a candle, taking in her surroundings with laser focus. She's a whisper; a ghost living in the shadows. Then everything goes black.

In an age where entertainment is binged and consumed for instant gratification, it's refreshing to sit with something and savor it--to indulge your senses and truly enjoy. And an evening of indulgence is precisely what American Ballet Theatre offered on the evening of June 14, 2019, at the Metropolitan Opera House with Le Corsaire. A classic in every sense of the word–historically, choreographically, and narratively– the company tickled audience goers with refreshed nuance and self-aware tongue-in-cheek humor that brought this standard into the 21st Century.

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.