BWW Reviews: Katy Pyle and the Ballez

Its Ballez not Ballet: The Firebird

By Jennifer Fried

Katy Pyle has broken and rewritten every rule of classical ballet in her recreation of the Ballets Russes staple, The Firebird, performed as part of Danspace Project at St Mark's Church in the Bowery. Pyle's term "ballez," certainly seems fitting. Her choreography utilizes the classical ballet vocabulary, but in novel and audacious ways, leaving her audience entertained and laughing out loud. Her work intellectually explores the gay experience both within society and the world of dance, creating a space in which anyone who has ever felt like an outcast could relate.

Pyle's choreography was intelligent and witty. The opening scenes of the princess dancing alone on stage, boldly performing men's jumps, brought humor as well as illuminating themes of gender identity within the world of ballet. Pyle noted that she would sneak off into men's ballet classes to "learn all the cool, powerful moves." The gender exploration continued with the arrival of the firebird-another female dancer who partnered the princess in unexpected ways.

Perhaps the highlight of the night occurred when the corps of princes played a game of catch with oranges, and then stuffed them into their pants. The audience exploded in laughter. Particularly enjoyable was the role of the sorceress who enchanted the corps of princes and the audience with her erotically charged energy.

Pyle selected a unique cast of different body types, heights, and sizes. She noted that she wanted to create a space where dancers of any body type could express themselves through movement. The traditional Firebird music by Stravinsky reminded the audience of the foundation Pyle played with. The use of multimedia settings further assisted in the creation of a ballez for 2013.

St Mark's church that evening was filled with a unique crowd from the gay community. Pyle had successfully created a platform where art would become an intellectual mouthpiece for a unique subculture. Further, she generated a form of movement and theatre that. even though grounded in the traditional ballet, was accessible and comical to all in attendance that evening.

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