Marsha Volgyi - Page 2

Jewels, choreographed by George Balanchine, performed on Friday September 30, 2016 at The Koch Theater was a wonderful beginning to the weekend. This ballet is a truly priceless gem in the repertoire of the New York City Ballet. The three-act storyless ballet is quite distinctive with its style and music.

The afternoon performance on Saturday May 28, 2016 of the New York City Ballet (NYCB) was bubbling with children and balletomanes in anticipation of A Midsummer Night's Dream. This playful ballet, which was based upon the Shakespearean play, was delightfully displayed with the combination of music by Felix Mendelssohn and choreography by the company's co-founder, George Balanchine.

On May 11, 2016, The Cutting Room on East 32nd Street housed Polly Ferman's Glamour Tango. In befitting cabaret style, wining and dining were part of this evening's performance. A four-piece band would allow our ears to hear live music, which is something quite rare if not at the opera or the ballet. What piqued my interest prior was how Ms. Ferman's creation would demonstrate the tango elements without the male presence. The man seems to be an integral part of this. However I would soon be shown how the man could instead be considered a preference.

At Lincoln Center's Koch Theater on April 29, 2016, the ballet crowd filled the house that Friday evening. For this program, City Ballet presented Estancia, Pictures at an Exhibition, and Everywhere We Go. Each piece demonstrated a variance in style, yet conclusively was still in the realm of the dancers' undeniable Balanchine training.

Downtown at Baruch Performing Arts Center on April 21, 2016, Circo de la Luna performed Circo en Tres Actos. A small setting for this cutting-edge collaboration. As in any theatrical cirque-like production, there are a myriad of characters, which can be confusing. However, Circo de la Luna's storyline was concise and quirky to relate to the  life of their protagonist living in the Big Apple. Mark, the main character, struggles with fitting into a city with all the diversity of personalities, crowds, and cramped quarters. He encounters a package that opens his imagination and with inspiration. That's when our España and cirque performers appear. Mark later on envisions more characters to draw him into his moonstruck environment. To conclude the show, there was conflict from the Boeadoras of the metaphorical emotions encompassing the physical and emotional world. Yet with all that ensued Mark's chaotic city hasn't changed, but he has within.

My introduction to YoungArts happened on Wednesday evening, April 13, 2016 at Pearl Studios near Penn Station. The seventh floor of this dance facility was converted into their intensive week of interdisciplinary workshops, seminars, and master classes with renowned leaders in their fields. Since I am a dance reviewer, I was honored to observe a master class with Guest Teacher John Heginbotham. I was surprised that only five dancers were in attendance.  Usually, most master classes are packed wall-to-wall with dance students. Later on, I was informed that this intimate setting was designed like that because YoungArts wants to make sure that their artists have the dedicated attention of teachers such as Mr. Heginbotham. A quintet of an elite group.

American Ballet Theatre (ABT) Studio Company opened their three-day performance schedule on the evening of April 15, 2016, at The Joyce Theater. The troupe offered a  program of five balletic acts that included one world premiere and two New York City premieres. With a full house, numerous supporters of the ABT attended. I recognized a few corps de ballet members of the company, principal dancer of ABT Gillian Murphy, and the extraordinary ballerina Alessandra Ferri in the audience. It was a lovely gesture for them and for many other guests to see the upcoming dancers who could someday be part of the ABT main company.

On a beautiful New York Sunday afternoon, April 17, 2016, American Ballet Theatre (ABT) Studio Company performed on their final day at The Joyce Theater. I was curious to watch these young dancers in Program C-a different repertoire. The line up consisted of La Bayadere Pas d'Action, Bier Halle, Libera!, Third Wheels, and Bolero. As I waited in wonderment of the coming piece, I too wondered if the ABT Studio dancers were anxious to knock the audience and myself out of my aisle seat with their talents. Tragically, I wound up holding the armrests from the anxiety created onstage.

At the Florence Gould Hall, just a two avenues away from The Plaza, my April 17, 2016 morning began. Parents, family, friends, and above all, children were ready to see New York Theatre Ballet's (NYTB) version of Cinderella at 11 AM. Many little girls were dressed to impress as the fairy tale character, while the boys were looking good in their Sunday best. For them, this would be animation come to life.

At the Salvatore Capezio Theater at Peridance, located near Union Square, on April 9, 2016 the New York Jazz Choreography Project (NYJCP) had a line-up of thirteen jazz dances. Some of those acts ranged from duets to large ensembles. Their co-artistic director, Marian Hyun, spoke to the audience briefly to describe the goals of this not-for-profit organization. One of these goals is to keep American jazz dance thriving. The dance style of jazz is very important to me because this is what fuels many of the steps in numerous Broadway shows. Jazz has also showcased many great artists over the decades-Bob Fosse, Luigi, Ann Reinking, Jerome Robbins, and hundreds more. For this review, I will be highlighting my five favorite pieces. Each piece of the evening was a joy, yet I want to discuss those dancers and acts that significantly stood out to me.

At Joe's Pub, located inside The Public Theater in the neighborhood of Astor Place, I dined at the cabaret on March 26, 2016. While in the venue's intimate setting, which included a fusion cuisine menu and a glass of Pinot Noir, I imagined that this would be the type of setting that flamenco in España (Spain) is performed. I was seated roughly forty feet from where I would see their feet.

On Tuesday, March 22, 2016, Juan Siddi Flamenco Santa Fe performed at The Joyce Theater. Earlier in the evening, I spotted three of their dancers a few blocks from the theater. It was quite easy to recognize them as dancers by their bun, make-up, and by their stature. So, I introduced myself and wished them 'merde' (a French word used by dancers for good luck). The three told me that they were excited to perform and explained the history of flamenco, both the music and the choreography. It was a spontaneous and an enlightening encounter-pre-show. While waiting for the performance to begin, I was glad to see that a large group of teens were in attendance. This gives me hope that our youth are still interested in watching live performances rather than relying on social media videos of trivial importance. The previous chance meeting combined with the adolescents in the theater started the night on a positive note for me.

Ferri, Cornejo, & Levingston in TRIO CONCERTDANCE was a performance of three world-reown artists-powerful and sublime artistry in motion.

The Mariinsky Ballet at Brooklyn Academy of Music performed a Tribute to Maya Plisetskaya

The JCC Manhattan, in collaboration with students of NYU Tisch School presented an evening of dance that explored their connection of the Talmud and Jewish literature.

An array of unique movements, lights, sounds, and imagination from the ALWIN NIKOLAIS CELEBRATION at The Joyce Theater.

The Sixth Annual Clive Barnes Awards was a held on a chilly afternoon, at the Walter Reade Theater, Lincoln Center. Winning in the Dance Award--Gabe Stone Shayer, and the Theatre Award went to Dave Thomas Brown. A lovely afternoon to celebrate the late Clive Barnes, The Clive Barnes Foundation, and recognizing talented the finalists and both winners of this humble award.

The Joyce Theater held the premiere of Daniil SImkin's INTENSIO. The downtown venue was the intimate setting for this well-received production. The personal side of Daniil Simkin, American Ballet Theatre's principal dancer, was one of the highlights which expressed to us his ballet training and his passion of this beloved dance style.

Luigi was the father of jazz. A teacher for all who wanted to dance. The Benefit-Tribute Concert on December 28, 2015 showcased a plethora of performers, all of which expressed their gratitude in song, dance, words, and in their presence.