New York City Center, now in its 70th year, has played a defining role in the cultural life of the city since 1943. It was Manhattan’s first performing arts center, dedicated by Mayor Fiorello LaGuardia in 1943 with a mission to make the best in music, theater and dance accessible to all audiences.
Today, City Center is home to many distinguished companies, including City Center’s Principal Dance Company, Alvin Ailey American Dance Theater, as well as Manhattan Theatre Club; a roster of renowned national and international visiting artists; and its own critically acclaimed and popular programs. http://www.nycitycenter.org
The score is derived from the catalog of songwriter Jim Steinman’s "Bat Out of Hell" album trilogy whose songs were immortalized by Meat Loaf. Mr. Steinman’s accomplishments as a composer and lyricist are monumental. As a librettist he is dreadful. His negligible scenario borrows heavily from "Peter Pan" (a doomed character is actually named Tink), the hoary stilted dialogue is reminiscent of Flash Gordon cliffhangers and it’s all often ill-matched with his iconic songs. Much of it is supposed to be funny. It all makes "Bat Out of Hell-The Musical" a numbing dysfunctional slog. Very often, on-stage actions are projected on to a very large screen opposite them with characters followed around by videographers dressed in black. We get to watch schlock twice simultaneously. [more]
Ukrainian director Rimas Tuminas has led the Vakhtangov State Academic Theatre of Russia in a massacre of Mikhail Lermontov’s 1845 play "Masquerade." Presented by the Cherry Orchard Festival, the spectacle on stage at the New York City Center made a mockery of an intelligent verse play that beautifully reveals the passions underneath the elegant façade of early 19th century Russian high society. [more]
By placing his ballet in the realm of the high-strung ballroom world, Eifman supplied himself plenty of excuses to make dances that bounced about the stage to his score of a parade of waltzes, polkas, marches and bits and pieces of the output of some of the many “Waltz King” Strausses (Johann the Son, Josef and Eduard) with one interlude of Mozart tossed in at the end. [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]
MasterVoices performed a beautifully sung and played rendition of the legendary 1941 musical "Lady in The Dark" as part of New York City Center’s 75th Anniversary Season for three sold-out performances. Conducted and directed by MasterVoices’ artistic director Ted Sperling and starring Tony Award winner Victoria Clark as heroine Liza Elliott, the production offered a world premiere of a new adaptation of the Moss Hart book by Christopher Hart (the author’s son) and Kim Kowalke, and the complete critical edition of the Kurt Weill/Ira Gershwin score. While the musical portions were excellent, this concert version only made clear the strengths and weaknesses of this rarely revived musical play. [more]
The evening consisted of a number of short dances in varying styles, but the final piece, “Valse Triste,” was the most successful. Osipova wore a simple, off-the-shoulder, blue dress and Hallberg wore a form-fitting unitard designed by Moritz Junge. “Valse Triste” by Jean Sibelius was the music for the plotless ballet. Choreography is an elusive art, but Alexei Ratmansky seems to have understood its secrets. Using the language and conventions of classical ballet, he designed this piece specifically for Osipova and Hallberg, and it showed off their exceptional talents and finely tuned partnership – and beautifully shared the joy of the dance with the audience. It’s the kind of short pas de deux that lends itself to gala events, so there’s little doubt that it will show up again. One wishes it were longer (it’s only six minutes). Or it would have been a wonderful treat to watch again if they had repeated it. [more]
A lot has been made of the parallels between the original 1938 production of "I Married an Angel" for which George Balanchine choreographed the dances for his soon-to-be wife, the glamorous Norwegian ballerina Vera Zorina and the New York City Center Encores! production for which its choreographer/director Joshua Bergasse staged the dances for his wife, the New York City Ballet star Sara Mearns. This is great publicity and drew the public, including myself, to this staging of one of Rodgers and Hart’s more charming musicals known mostly through a Jeanette MacDonald-Nelson Eddy film. The original choreography is evidenced only via some silent film snippets taken of the original production. [more]
All four works—particularly the first three—had a certain offhanded similarity, a lack of formal movement ideas and construction, but all four choreographers are clearly students of the school of Jiři Kylián, the most famous director of the NDT whose incredibly musical, minutely detailed choreography has influenced many both in Europe and here in the United States. Kylián’s works have a touching humanity to them, while these four works tended more to movement for its own sake and arbitrary expression of emotions. [more]
The K-Arts Dance Company from Korea presented two performances of "Song of the Mermaid," an entertaining full-length ballet choreographed by its artistic director, Sunhee Kim. Song of the Mermaid was an extravagant ode to old-style ballet, a tribute to Petipa, if you will, based on the well-known tragic Hans Christian Andersen fairy tale of love gone wrong. [more]
This plotless, mostly sung-through exhibition conveys the tumultuous 20th century urban African-American experience through Micki Grant’s dazzling score for which she wrote both the music and lyrics. “Universe in Mourning,” “Harlem Streets,” “Ghetto Life” and “Billie Holiday Blues” are some of the titles. [more]
The unison of Jason Robert Brown’s accomplished score, Kate Whoriskey’s exciting direction and Rennie Harris’s vibrant choreography make this New York City Center Encores! Off-Center’s revival of his 1995 debut show "Songs for a New World," a dynamic theatrical experience. Mr. Brown’s surprise appearance at the piano to play a song in the second act was electrifying. [more]
The chance to see Anton Chekhov’s first produced play, "Ivanov," not only in the original Russian (with English surtitles) but in modern dress proves to be a revelation. Staged by Russia’s State Theatre of Nations and as presented by the Cherry Orchard Festival, this is a rare opportunity to see this usually neglected Chekhov classic, seen in New York in English on only three occasions since it was first written: 1966 on Broadway with Sir John Gielgud, 1998 at Lincoln Center with Kevin Kline, and in 2012 at the Classic Stage Company with Ethan Hawke. Like the recent Australian version of Chekhov’s first written play, "Platonov" (renamed "The Present" in Andrew Upton’s update), Timofey Kulyabin’s production is not only in modern dress but updated to a drama set in our time. [more]
"Ekstasis,” danced by PeiJu Chien-Pott, her hair loose, her costume a tight tube of form-fitting jersey (designed by Graham, herself), stood still as eerie clacking percussion and quiet woodwind music passed through her body, eventually causing her hips to jut from side to side and her bent arms to move in increasingly large circles. “Ekstasis” is clearly a remnant from Graham’s days with the Denishawn company which specialized in soft-focused versions of ethnic dance forms from all over the world, using them for their decorative effect rather than expression of deep emotions. Ms. Chien-Pott was terrific, unabashedly decorative, yet adding emotional depth through her personal style and commitment. [more]
“We'll Take a Glass Together” is an exhilarating production number. Brandon Uranowitz’s animated youthfulness is up to the task of equaling the impact of Michael Jeter’s legendary turn in the original production as the dying bookkeeper enjoying a carefree spree. Mr. Uranowitz’s limber movements are thrilling as he euphorically undulates up and down flanked by a large gold dance barre carried by the terrific ensemble. [more]
Writer-performer Bob Martin recycles his sweater-clad disaffected “Man in the Chair” character from his 2006 Broadway musical "The Drowsy Chaperone." The conceit is that he’s a disgruntled Encores! subscriber who has been chosen to pick his selections for inclusion. Mr. Martin addresses the audience to offer commentary, often tells inside jokes and interacts with the cast. Depending on one’s sensibilities, this is either an inspired or an insufferable device. However, it doesn’t mar the actual production. [more]
The middle work, “Walking Mad,” choreographed by the Swede, Johan Inger, has inadvertently taken on an urgency and timeliness. Always a surreal study of off-handed violence, the current tidal wave of sexual harassment revelations has given “Walking Mad”’s series of violent episodes against women an added shock value. [more]
Hanging over this presentation is, as indicated, the film which divides the audience into those who did not see it and must take or leave Bourne’s clever version and those who saw it and compare each of the film’s campy, colorful moments to the dramatically dull Bourne version in which characters seem to fall in love after barely meeting. Characters who are boldly drawn in the film could not be inhabited by Bourne’s young cast, particularly Nicole Kabera as an unstylish Lady Neston who introduces the main character, her niece Vicki Page (a saucy, plush Ashley Shaw) to ballet owner and Diaghilev surrogate, Boris Lermontov. This rich character was played by a much too young Sam Archer whose charisma is totally absent. It’s difficult to stage a story at whose heart is a tragic love triangle when at least one angle had no magnetism and was, in fact, a mass of outrageous eccentricities compared to the seething elegance of Anton Walbrook in the film. [more]
The highlight of the program was watching the world-renowned premier danseur David Hallberg perform a work specially commissioned for him by Fall for Dance. Mark Morris, the equally famous and respected choreographer, chose Benjamin Britten’s “Twelve Variations for Piano” as his score for the coyly humorous “Twelve of ‘Em.” The tone was set by Isaac Mizrahi’s wry costumes for both Mr. Hallberg and the adroit pianist Colin Fowler who was totally in synch with Morris’ tongue-in-cheek sense of humor. Both wore ancient Greek-like flowing tunics over t-shirts and jeans. [more]
Michelle Dorrance, this troupe’s director, has become a force in tap dance because she understands both its legacy and its future. She played Pied Piper to a large troupe of very talented dancers who were all given opportunities to shine and create moods that varied from sexy to flirtatious to hilarious and sad. With additional choreographic contributions by Ephrat “Bounce” Asherie and Matthew “Megawatt” West—fine soloists—“Myelination” ebbed and flowed as soloists floated out of groupings of the twelve dancers to express themselves in brilliant bits that combined tap with modern dance, jazz, break dancing and even a touch of ballet. [more]
Handsome musical theater leading man Ryan Silverman is a commanding Ulysses with his operatic singing. Jeff Blumenkrantz is marvelously humorous and pitiful as Menelaus, Helen’s jilted husband. N’Kenge is fierce and bewitching as Mother Hare, a soothsayer-like figure. Ashley Brown is wonderfully comic as the mayor’s wife. Though silent as Paris, the youthful Barton Cowperthwaite’s superior ballet skills make a great impression. [more]
Herbert Fields’s book was based on a story by E. Ray Goetz and New Yorker cartoonist Peter Arno. This clunky concert adaptation by Jack Viertel is crammed with double entendres, puns, anachronisms, and contemporary inside jokes that mostly thud. [more]
Red-haired, animated and engagingly boyish, 18-year-old Nicholas Barasch is sensational as Huckleberry Finn. Mr. Barasch is onstage virtually the entire time and winningly carries the show. As Jim, the runaway slave, Kyle Scatliffe brings dignity, forcefulness and powerful vocal ability during his commanding performance. [more]
“r-Evolution, Dream.” was a jaunty new ballet by Ailey member Hope Boykin to music by Ali Jackson plus narration spoken by Leslie Odom, Jr. which included a Shakespeare sonnet, “A Negro’s Complaint” by William Cowper, “If I Can Help Somebody as I Pass Along” by Alma Irene Bazel, etc. This delightful romp pitted four groups of dancers against each other, occasionally joining forces, particularly in a fleet finale in which the lines interwove and “interbred.” The dancers—including members of Ailey II—were defined by the color of their chic costumes (black, white, purple and green, designed by Ms. Boykin) all led by Ailey veteran, Matthew Rushing whose Pied-Piper performance gave a center of gravity to what might have been a pleasantly disorganized entertainment. Standing out was Megan Jakel whose whirling, undulating solo evoked spontaneous applause. [more]
Is there a more stunningly beautiful troupe of dancers than the Nederlands Dans Theater? This very international array of performers is not only good looking but dances with thrilling precision and a style that clearly says “company,” thanks to artistic director Paul Lightfoot and general director Janine Dijkmeijer. [more]
Gordon created the role of Gertrude Stein with mezzo-soprano Stephanie Blythe in mind. Blythe’s monumental presence, thanks to a towering, charismatic, forceful voice, is meant to arrest and command attention. Blythe captures Stein’s complicated personality – her genius, her stalwartness, her humor and her occasional, brutal judgments about the artistic quality of her bon mots. [more]
The charming and charismatic Broadway leading man Santino Fontana performs the role of Elliot Rosewater with as much commitment as if he were playing J. Pierrepont Finch. Mr. Fontana’s performance is the magnetic anchor of the show. Kilgore Trout is a loony science fiction author of 117 novels and over 2000 short stories and is a recurring character in Vonnegut’s novels. Here he appears briefly near the end of the show wearing a hunting cap and rising from a wheelchair. That he is played by the legendary 85-year-old James Earl Jones with his thundering voice, joyous presence and sly comic timing is wonderfully jolting. Mr. Jones also is the narrator. [more]
The most remarkable thing about the Encores! Off-Center revival of the late Elizabeth Swados’ 1978 musical "Runaways" is that it is as fresh as when it was written almost four decades ago. The concert staging is perfect for this revue like show which deals with youthful alienation and abuse, making it feel extremely contemporary. Credit director Sam Pinkleton and a cast of 25 high-powered multi-racial and multi-ethnic performers, mostly New York City school children from 12 – 19. Among the performers are a deaf actor working in sign language (Ren), two actors who perform in Spanish (Claudia Ramirez and Joshua DeJesus), and a transgendered actress (MJ Rodriguez). It would not be hyperbole to say that among this cast are the stars of tomorrow. [more]
Staged by director/choreographer Doug Varone, "Dido and Aeneas" was amusingly presented in modern dress with Varone’s dancers playing the ensemble in both operas and pantomiming unseen props and scenery. As the original Purcell music to the surviving Nahum Tate 1689 prologue has been lost, LaChiusa has created a witty new one entitled" The Daughters of Necessity: A Prologue," and lasting 15 minutes. After the Chorus (men in bleachers on stage left, women on stage right) welcomed us, they recounted the myth of the Fates: Nono (Sarah Mesko) who spins the thread of life, Decima (Anna Christy) measures it, and Morta (Clark) snips the thread with her scissors. [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 prime instigator of the events, John Adams, was rotund and abrasive. Here he is played by the handsome Santino Fontana who was Prince Charming in the recent Broadway production of Cinderella. Though Mr. Fontana bears no physical resemblance to Adams he conveys his rage, frustration and humanity with his dynamic performance. Fontana’s soaring voice captures the emotion and humor of the score, particularly on "Is Anybody There?" [more]
The second Balanchine masterpiece was “Prodigal Son,” the final work that the great impresario Serge Diaghilev commissioned. Prokofiev’s moody, rough-hewn score and colorful, scenery and costumes by Georges Rouault which evoke a fanciful, ancient biblical era give Balanchine’s story heft. The clever scenery includes wildly colorful backdrops and features a large wooden structure that ingeniously becomes a pathway away from the Prodigal’s home, a dining table, a stage and even a poignant place of crucifixion as the Prodigal writhes against it. [more]
Maillot decided, however, to set his version in a distorted fantasy realm, with no identifiable time period or place, distancing the story’s emotional impact. It is difficult to identify with the group of highly stylized, caricatured characters he presents and the tortured, though imaginative, path he takes them on. [more]
Director Ruben Santiago-Hudson has inventively and thoughtfully staged the show with vibrant precision. Mr. Santiago-Hudson’s work combined with Camille A. Brown’s often stunning choreography makes for an eye-catching spectacle including the dream sequence with The Queen of Sheba in a golden gown and headdress. Santiago-Hudson also collaborated with Encores! artistic director Jack Viertel in adapting Lynn Root’s original book into an engagingly flowing narrative with depth. [more]
