JOEL BENJAMIN was a child performer on Broadway and danced with leading modern dance and ballet companies. Joel has been attending theater, ballet and opera performances ever since childhood, becoming quite opinionated over the years. He was the founder and artistic director of the American Chamber Ballet and subsequently was massage therapist to the stars before becoming a reviewer and memoirist. He is a member of the Outer Critics Circle.
From 1976, “Country Dances” represented the post-experimental avant-garde phase after breakout success with her ballets for major dance companies. From 1980, there was “Brahms Paganini,” her entrée into her hybrid style combining her eccentric, seemingly casual movements with the classical ballet vocabulary and from 2016, “Beethoven Opus 130,” virtually a classical ballet with quirky touches. [more]
Edisa Weeks’ DELIRIOUS Dances company presented "To Begin the World Over Again," an ultimately hopeful, informal look at American values filtered through the words of Thomas Paine, the Revolutionary War era philosopher and rebel-rouser—sort of an informal, easy-to-get-into Hamilton. [more]
As the women find themselves further and further in the future, it is how each reacts and is forever changed that give the play its emotional weight. Two manage to adjust quite well; one not so much. The whirlwind of mid-twentieth century America takes its toll on these intelligent travelers, outwardly in their clothing and inwardly on their attitudes toward life. The paths each takes at the end of "On the Verge"aren’t just theatrically satisfying—having been telegraphed subtly in many ways—but actually quite moving. Suddenly Overmyer, with the decided support of three fine actresses, ably directed by the astute Laura Braza, turns these silly, living cartoons into flesh and blood. And, that is the real journey of On the Verge. [more]
The New York City premiere of “Polymorphous” to Bach was a coolly elegant work that featured ever shifting black and white projections (by Brian Clifford Beasley) matched by the witty leotards by Karen Young which were white in front and black on the back. The video also featured reverse shadow images surreally mirroring the dancers as they plied the light jumps, gentle partnering and beautifully arching steps. The most balletic work on the program, “Polymorphous” used one of Rioult’s frequently used technique of working one pair of dancers in contrast to the other. In this case, the four dancers—Brian Flynn, Ms. Haines, Jere Hunt and Sara Elizabeth Seger—created two different pools of emotions—one quietly amorous, the other darker. “Polymorphous,” with its careful, quiet craftsmanship, was a kind of choreographic palate cleanser between the heated “Dream Suite” and the four “Duets Sacred & Profane” which followed. [more]
This production had two brilliant design/directoral conceits that worked hand in glove with the musical elements to tell the story. The first involved twelve dancers from Ballet Hispanico’s BHdos all in white body suits from head to toe, undulating virtually continuously down stage in front of the ship, representing the river and its secrets. With indefatigably choreographed by Nicholas Villeneuve and breathtakingly lit by Barry Steele, they, indeed, became a living part of the scenery, even interacting with the characters on the ship. [more]
The American Sephardi Federation’s production of a greatly compressed "Othello" at the beautiful Center for Jewish History. This was the third of a series of three shows staged to showcase the talents of David Serero. He’s a Moroccan Sephardic Jewish performer who has charm and charisma. [more]
"Shuffle Along..." follows the travails and triumphs of the creators of the 1921 David that fought what was at first a losing battle against the Goliath of the Broadway powers-that-be. The quartet that put the show together on a long road tour were libretto creators F.E. Miller (Brian Stokes Mitchell whose charisma and mind-boggling professionalism makes his character the safe harbor) and his partner, Aubrey Lyles (Arbender Robinson, brilliantly taking on the part usually played by Billy Porter); composer, Noble Sissle (Joshua Henry, giving a quietly dignified performance as an artist whose disappointment in America takes him to Africa) and lyricist, Eubie Blake (Brandon Victor Dixon, the more effervescent and demanding of the two songwriters). [more]
However, the main thrust of this troupe is to stimulate a gentle discipline and the ability to work effectively with others. It’s clear that these youngsters who range from seven or eight years old to teenagers enjoy their time on the stage and have been rehearsed to perfection. Occasionally a look of concerted concentration replaced smiles but this experience—whether any of these kids will go on to careers in the performing arts—is priceless and will have positive repercussions throughout their lives. [more]
Gregory S. Moss’ "Indian Summer" at Playwrights Horizons is an uneasy mix of two stories, the first about the doomed romantic encounter between two teens and the second concerning the quiet existential suffering of an elderly man. Despite sudden shifts of tone, Moss manages to leave the audience feeling deeply for each of these characters. [more]
"Paramour," the Cirque du Soleil’s stab at producing a Broadway style musical at the Lyric Theatre, is the circus equivalent of a jukebox musical. Instead of songbook—Beach Boys, Four Seasons, Carole King, etc.—this show is a panoply of circus shtick: juggling acts, trampoline chases, trapeze acts, contortionists, teeter board high fliers, etc. Although the circus bits aren’t truly integrated into the overblown plot—a rather silly "42nd Street"/"A Star is Born"/"Red Shoes" mash-up—it’s great to see the Cirque du Soleil performers in any context, but why the creators couldn’t dovetail the wonderful circus bits with an intelligent plot, is a mystery considering all the money that clearly went into "Paramour." [more]
Stew and Ms. Rodewald’s command of the musical genres of the 1960’s and 1970’s—gospel, Motown, soul, glam-rock, funk, R&B, blues, etc.—is astounding. The songs are organic extensions of the dialogue. In fact, this show could easily have been a straight drama or a sung-through opera. [more]
Leading this bucolic tale of amor interruptus were Gillian Murphy (her usual strong technique subsumed in girlish sweetness) as the farm girl, Lise, the “badly guarded girl” of the title, and Cory Stearns (at his lyrical best) as Colas, her young farmer swain. In the drag role of Lise’s mother, Widow Simone, was Marcelo Gomes, the still vibrant classicist perhaps just having a bit of fun in a character role, or keeping an eye on the future—distant future!—when character roles will be the natural progression for this great artist. [more]
It’s clear why Edward Albee’s "The Sandbox" (1959), María Irene Fornés’ "Drowning" (1986) and Adrienne Kennedy’s "Funnyhouse of a Negro" (1964) are considered modern absurdist classics. They hew to the territory the truly greats like Samuel Beckett, Eugene Ionesco, the Dadas and Alfred Jarry explored, with Beckett the most influential, particularly in the first two plays, interpreting them with an American spin. If they are not as effective—if they seem somehow clichéd—the playwrights cannot be faulted. The Art World simply moves on. [more]
Ms. Grossman’s three works were all world premieres: “Hallelujah Eva” to the famous Leonard Cohen song, “Beatrice’s Rainbow” to the Yip Harburg/Harold Arlen classic “Over the Rainbow,” and “Variations on a Box” to music by Ms. Grossman’s husband David Homan (who also did the beautiful arrangements of the first two works). Each was a study in relationships and community. [more]
Although Quiara Alegría Hudes’ "Daphne’s Dive" follows the lives of seven fascinating people for whom Daphne’s North Philly bar is their true home, it is no "Cheers" and definitely no "The Iceman Cometh." No, "Daphne’s Dive" is a far gentler affair than either of those and more fearless for its gentleness. The seven people in this working class bar and grill affect each others’ lives as the play takes them from 1994 to 2011—and the audience is changed along with them. [more]
She ran down the list of her Broadway co-stars: Ricardo Montalban, Donald O’Connor (the disastrous Bring Back Birdie), Antonio Banderas (upon whose shoulder she placed a shapely leg in Nine) and, her admitted favorite, Dick Van Dyke, with whom she co-starred in "Bye Bye Birdie" from which she sang “A Lot of Livin’ To Do” giving it a sassy, winking interpretation making it impossible to deny that the title is very on the mark. It wouldn’t be a Chita Rivera show without a mention of her iconic Anita in "West Side Story." A meeting with Leonard Bernstein to go over her songs just after she had been cast was nerve-wracking as she never had considered herself a singer. History has proved that her singing almost equals her dancing. “A Boy Like That” and “America,” complete with some mini-choreography were nothing short of electrifying. [more]
His Shostakovich Trilogy may have been too much of a good thing, somewhat weakened by too many overlapping themes, generally dark moods (with some bright moments, of course) and a sameness of choreographic technique. However, these three ballets displayed his talent for moving dancers around the stage with musicality and dramatic expressiveness and a good ear for Shostakovich’s quick-changing musical themes which often go from ponderous to lighthearted within a few measures. [more]
The duo that makes up and has created 'Still Standing You" consists of the charmingly suave Guilherme Garrido from Portugal and the dour, heavily bearded Pieter Ampe from Belgium, neither of whom appear to have ever set foot in a dance class. Skinny, but out of shape, they nevertheless proved that they certainly were not weaklings, supporting each other in odd lifts, tucks and all sorts of interlocking of body parts. [more]
Frankly, the main difference between Bianco and its sister circuses is its ambiance and not the acts, wonderful as they are. Every circus has jugglers, tightrope walkers, silk artists and hula hoop masters, but Bianco presents them as people, not virtuosos (which of course they are). This philosophy sacrifices awe for user friendliness. [more]
Director Dev Bondarin cleverly enlisted scenic designer Tim McMath to transform the APAC’s theater into a high school gymnasium, complete with posters (“No Bullying Allowed,” “Today is a great day to learn something new,”) banners (“Go Cougars,”) and the kind of simple platform that would be at home in any gym. Bondarin also gifted this production with an air of immediacy and an unrelenting up-tempo. [more]
The way Mr. Levenson keeps things moving is both clever and exhausting. The songs mostly explore the inner emotional lives of the characters: “Waving through a Window” (Evan’s feelings of alienation); “Anyone Have a Map?” (frustrations of the two moms); “To Break in a Glove” (Larry Murphy’s heartbreaking song of unfulfilled paternal rituals); and the heartbreak and promise of “For Forever” which ends the show. [more]
As Hungary took a turn to the extreme right in recent years, anti-Semitism and xenophobia not only raised their heads, but became de facto pillars of the new government. The Place We Built delves into the personal plight of an ad hoc blending of often contentious, mostly loving twenty-somethings who inadvertently wind up building and creating a meeting place of like minds in the old Jewish Ghetto and thereby defying and antagonizing the powers-that-be. [more]
The musical’s new libretto, written by Jessie Nelson, riffs broadly on Shelly’s quietly poignant storyline and her very human, finely etched characters. The characters, broadened and amped up several notches to register on the large stage of a Broadway house, eventually do endear themselves even if they are just a bit shy of caricature. Singer-songwriter Sara Bareilles’ music and lyrics further perpetuate the broad brush paint job with all the characters getting an exultantly defining number that elucidates their eccentric stories or the turmoil in their minds. [more]
Testing the patience and understanding of both the audience and the dancers, Ballet Preljocaj, Angelin Preljocaj’s modern troupe from Aix-en-Provence, performed the complete version of his “Empty Moves” at the Joyce Theater. Two of the three parts were previously seen in New York City. Set to John Cage’s “Empty Words,” a deconstruction of a text by Henry David Thoreau, the work put four terrific dancers through their paces for nearly two hours. [more]
At turns beautifully silly, dreamy, exquisitely moving and always delightful, "Fêtes" is a sweeping, if daffy, look at life in eighteenth century Venice. Christie and his director Robert Carsen, framed the opera ingeniously by beginning the work in modern day Saint Mark’s Square complete with modern day tourists—mostly members of Ed Wubbe’s Scapino Ballet—with their cellphones, backpacks and obnoxious behavior. [more]
I cannot remember the last time a ballet company so completely blew me away as the Miami City Ballet did during its recent, depressingly short season at the David H. Koch Theater in Lincoln Center. The explosive metaphor is entirely apt. This is a stylish classical ballet troupe that is definitely a company whether they are dancing works by Alexei Ratmansky, Twyla Tharp or George Balanchine. They exude a lushness of style that allows them all to be individuals, yet cohere into an exciting artistic unit. [more]
An opportunity to see the luminous Academy Award winner Lupita Nyong’o live on stage may be the reason most people are rushing to the Golden Theatre, but, thrilling as that may be, "Eclipsed" is its own reward, a starkly detailed, microcosmic observation of just one ghastly corner of a ghastly civil war. [more]
It’s an uneasy stretch that ultimately fails to convincingly conflate the surprisingly liberal religious arguments that Lessing makes with the extraordinarily complex political/religious/cultural impasse in today’s Israel. The interactions between the Christian, Muslim and Jewish characters are frank, barbed and boldly modern sounding—at least in Kemp’s version—but come across more as statements of the class structure of eleventh century Jerusalem than deep-seated psychological or sociological issues. [more]
The four works on the Dance Theatre of Harlem’s program revealed a troupe that loves to entertain and show off but one that also hasn’t quite reached a secure level of technical achievement. Fervor and personality can take a dance company only so far. Nevertheless, this is definitely a ballet company with most works featuring solid point work. [more]
The Ballet Hispanico wants to be meaningful while at the same time entertaining. It is a difficult course to chart—just look at the Alvin Ailey American Dance Theater—and, so far, the entertainment element seems to have taken charge. There’s nothing wrong with wanting to please an audience, but, let’s face it, others do it better. Mr. Vilaro has kept the technical level of the dancers and the productions at a very high level and shouldn’t be afraid to shock, move and confound his audiences—along with making them happy. [more]
Nearly thirty speakers glorified Solomons, but none quite as well as himself who appeared in three bits that deftly paid tribute to—and simultaneously gently poked fun at—his two choreographic mentors. Watching Solomons’ Martha Graham and Merce Cunningham hand puppets debating their individual philosophies of the art of dance, while getting their personality foibles down perfectly, was the highlight of the program. This was the rare Horse’s Mouth in which the object of the show performed. [more]
"Bright Star," the new bluegrass/country music comedy-drama, rises—just barely—above Hallmark Network romance level thanks to its energetic score by the Hollywood star, Steve Martin (music and book) and singer-songwriter Edie Brickell (lyrics) and an astonishing, charismatic performance of Carmen Cusack in her Broadway debut. [more]
This was a particularly satisfying showing by the Juilliard Dances Repertory. It’s good to know that there is hope for the future of dance represented by these students, all of whom displayed fine technique and understanding of the different works. Also, the respect and care paid to these three choreographic geniuses makes it clear that they won’t soon be forgotten. [more]
