Jerome Robbins is world renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies and television. His Broadway shows include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam, and Fiddler on the Roof. His last Broadway production in 1989, Jerome Robbins’ Broadway, won six Tony Awards including best musical and best director. Visit jeromerobbins.org
While "Illinoise" does not seem bigger than its individual parts nor transcend them, it is both satisfying and moving. Peck’s inventive and derivative choreography at the same time seems to pay homage to his teachers and sources but also is in his own style. Some will find "Illinoise" an emotional experience; others will be impressed by the vigor and high spirits of the dancers and singers. Several of the dancers should be come much better known through their roles in this work. Last but not least, Sufjan Stevens’ 2005 score is remarkable in its continued vitality after all these years. [more]
Everyone who loves theater owes a debt of gratitude to Julie Boardman and Diane Nicoletti. About five years ago, they got the idea of creating a museum in the theater district, dedicated to Broadway. They would raise the funds themselves, hoping to create a self-sustaining operation. The museum they have co-founded has now opened. And it’s a winner! Oh, I’m not saying it’s perfect. Nothing in this world is quite perfect. And like all new ventures, the museum is experiencing some growing pains. (Later in this piece, I’ll suggest some ways that the museum could be made even better.) But what they’ve achieved thus far is mighty impressive. There are a few kinks to be ironed out, but this is a major addition to the theater district. [more]
The final work on Program 1 was its finest. A.I.M. By Kyle Abraham presented its director’s “Our Indigo: If We Were a Love Song,” a deeply moving paean to the darker meanings of love. It was choreographed to Nina Simone’s glorious renditions of six songs in which she wrapped her moving contralto around the lyrics of “Don’t Explain,” “Black is the Color of My True Love’s Hair,” and “Little Girl Blue.” The opening moments found the seven-member cast gathered in a dramatically lit upstage corner—moody lighting designed by Dan Scully—bending and reaching, dispersing only to return to their sculptural starting image. [more]
Van Hove's energetic cast is too often lost among the video images which is sad because they are a wonderfully scrappy group of actor/dancer/singers who give their all. (I’m told that this is less of an issue in the higher reaches of the theatre due to the difference in perspective.) To be sure, there are wonderful moments where the groups move about in cityscapes that constantly change around them, but these are countered by long scenes during which the actors appear to be lilliputian figures whose singing and emoting get lost in the confusion of giant faces. [more]
But, fear not! The Encores! creative team—director John Rando, music director, Rob Berman and choreographer Sarah O’Gleby—found a terrific cast led by Michael Urie in the Phil Silvers’ role of Harrison Floy and Betsy Wolfe as (Mama) Sarah Longstreet, Nanette Fabray’s role (which featured the earworm ditty “Papa, Won’t You Dance With Me?”). [more]
Steven Skybell’s Tevye warms up from a salt-of-the-earth, everyday philosopher to the much put-upon tragic existential hero upon whom God—to whom he speaks frequently—has heaped much tsouris. By the time he has lost a third daughter Khavele, this time to a Russian Christian, his interpretations of the songs and his line readings are heart-breaking. [more]
"Candide"’s giddy overture was of course the euphoric opening number of the 92nd Street Y’s Lyrics & Lyricists Series: "Lenny’s Lyricists." This was a splendid concert celebrating Leonard Bernstein’s centennial by spotlighting his collaborators. The novelty here was that we watched footage of a close up of the hands of pianist Ray Wong as he superbly played via video projected onto a large screen as artistic director Rob Fisher turned the score’s pages. [more]
Each was asked about their first audition. Marilyn D’Honau couldn’t remember, although she clearly made an impression on Robbins who subsequently used her in "Gypsy." Tony Mordente, just an acting hopeful, was working in a Times Square Howard Johnson’s when he heard that WSS was being assembled and he showed up with no professional experience and managed to impress the powers-that-be. Some flew in from the Coast or Las Vegas or were known by Robbins before hand, like Ronnie Lee who was in "Peter Pan." All were reminded by Robbins before the opening night that they were “handpicked.” [more]
All the choreographers displayed over-intellectualization and overuse of gimmicks, avoiding dealing directly and honestly with their subjects. Homosexuality raised its head in two of the works but was handled superficially. Perhaps, there’s an “Asian sensibility” that eluded me, but the vocabulary used was decidedly Western and has to be assessed in those terms. [more]
I’ve always liked Andrew Keenan-Bolger's work. He was a memorable child actor, playing leads on Broadway in shows like "Beauty and the Beast" and "Seussical," when he was around 13 or 14 years old. I admired his sunny, open-hearted work then. And he's even more successful today (at age 31) as an adult--not every child actor can make such a transition. He conveys the same sort of buoyant spirit on stage now as he did when I first saw him in those shows he did so well as a youth.. (His whole family is talented. He and his sisters, Celia Keenan-Bolger and Maggie Keenan-Bolger, are all making their contributions to the arts.) [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]
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]
“Song Before Spring,” to a vibrant and pulsating steel band score by Philip Glass is an exciting addition to the NYTB repertory. Choreographed by Zhong-Jing Fang and Steven Melendez, “Song” caught the rambunctiousness of the score while telling many poignant and funny stories about the characters’—the entire company—lives. Dressed in Ms. Nolan’s incredibly witty street clothes, these young dancers became a community, a microcosm of urban life as they interacted. There were a sullen youth (Mr. Melendez), three flirty young ladies (Alexis Branagan, Carmella Lauer, Mayu Oguri), two aggressive young men (Joshua Andino-Nieto and Michael Wells) and a panorama of telling activities that combined ballet, modern dance, mime and very fine acting. “Song Before Spring” is a real forward leap for Ms. Byer’s troupe of dedicated dancers. [more]
Do not expect an exact reproduction of the original which after four revivals is probably to the good. With the consent of lyricist Sheldon Harnick, the only surviving creator, Sher has added a prologue and an epilogue that is new. When the curtain goes up, Burstein dressed in a contemporary parka is standing near an abandoned railway station in Anatevka reading from a book (the original Sholom Aleichem stories? a guide book?) and then he removes his coat revealing that he is in Tevye’s costume and joins the opening scene back in 1905. At the end of the musical, Burstein again in the contemporary parka joins the line of refugees leaving the town on their way to the border and picks up Tevye’s cart. The modern relevance to the current situation in Europe and in the Middle East is made patently clear. [more]
Powerful and unique themes pervade this series of works including spirituality and "the other side;" sexuality and relationships and its burgeoning diversity; the power of - and within - women; the casualty of war - and the casual way we look at it; fine art; the church; crippling illness from the point of the crippled; redemption; and myriad more are explored in under two hours! [more]
Then, there’s the new cast member, Misty Copeland, the newly minted American Ballet Theater principal ballerina, who has taken over the role of Ivy Smith, the catalyst for the daffy, warm-hearted plot of the show. Formerly inhabited with sweetness and steely technique by another ballet star, Megan Fairchild, the role of Ivy Smith fits Ms. Copeland perfectly. She makes it her own the moment she’s murmurs “Who, me?” in “Presentation of Miss Turnstiles,” the witty send-up of beauty competitions. [more]
he Royal Ballet’s second program of its ridiculously short season at the David H. Koch Theater was disappointing as much for what was on it as for what wasn’t. What wasn’t there were any classical works. Among divertissement-type short works making up the second part of the show, there was not one classical Pas de Deux. Instead, the program opened with an abstruse modern ballet and ended with an equally abstruse new version of an old one with six very short works of varying quality and appropriateness sandwiched in between. [more]
The annual School of American Ballet Workshop performances are more than occasions for fundraising. They are a chance to see the next generation of classical ballet dancers in what we hope will soon be their native habitat, the stage. The programs are optimism incarnate, an opportunity to believe in the future of dance. [more]
“Is there anything left to discuss? There IS!” exclaimed Rob Fisher, artistic director of the 92nd Street Y’s Lyrics & Lyricists Series about "Fiddler on the Roof," in his introductory remarks to the concert “To Life! Celebrating 50 Years of ‘Fiddler on the Roof” with Sheldon Harnick.” A violinist and Klezmer clarinetist, who played tunes from that show, then joined him briefly before they settled in on stage with the other band members. The format of the presentation was to commemorate this milestone anniversary of that classic Broadway musical in a unique fashion. “Those expecting to hear the entire score of 'Fiddler on the Roof' will be very disappointed,” explained "Fiddler on the Roof"’s 91 year-old lyricist Sheldon Harnick, and the concert’s affable host. “These songs are twenty outtakes that were not heard in the final version.” [more]
The Lincoln Center Theater revival of Rodgers & Hammerstein’s The King and I is a provocative, eye-filling and poignant experience. Both younger and older theater writers and audience members can learn a good deal about how to tell a story on stage that is both emotionally moving and makes you care about the characters from Rodgers & Hammerstein’s expert storytelling. "The King and I" will send you out of the theater feeling that you have had a fulfillingly memorable experience filled with unforgettable songs, dances and theatrical moments. [more]
On April 27, Symphony Space and Words on Dance presented “Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway,” a delightful romp through the dancing career of one of Broadway’s brightest choreographers. The lecture was moderated and led by Oscar, Emmy, Tony and Grammy winning actor-singer-dancer Rita Moreno. Moreno’s conversation with Wheeldon was prompted by a series of film clips featuring him as a young dancer as well as brief segments of his past choreographic work with the New York City Ballet, the San Francisco Ballet, the Royal Ballet, the Joffrey Ballet, the Wheeldon Company, and his most current work in the new Broadway production of "An American In Paris" where he serves as both director and choreographer. It is the fusion of his classical European ballet training, his love for American music, American dance stars, and American dance that Wheeldon has established himself as a leading force in the world of dance. [more]
This On the Town, with 29 musicians and 31 actors, begins with a huge American flag and the singing of the national anthem, just as would have happened every night of the original run back in the 1940's during World War II. The show begins and ends at 6 A.M. at the Brooklyn Navy Yard. Three sailors, Gabey (played by Tony Yazbeck for the third time), Ozzie and Chip have 24 hours shore leave to see all of the Big Apple before shipping out to Europe. Each wants to see the sights, both cultural and female. [more]
