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The Joyce Theater

BalletX: Fall: 2024 Season

October 1, 2024

The final work of the evening was Takehiro Ueyama’s “Heroes,” dedicated to the brave, hard-working citizens of Japan who helped pull themselves out of the devastation of World War Two. Set to darkly emotional music by Kato Hideki and Ana Milosavljevic (played live) and a recording of John Adams’ moody, but energetic “The Chairman Dances – Foxtrot for Orchestra,” “Heroes” was filled with a wide range of emotions beginning with a long duet, a portrait of a deeply emotionally involved couple who, heartbreakingly, wind up parting, Ueyama’s choreography skillfully, but subtly illuminating a wealth of emotions. [more]

London City Ballet: Fall 2024 Season

September 21, 2024

“Larina Waltz,” choreographed by Ashley Page to the lilting melodies of Tchaikovsky, opened the program.  It was a dynamic expression of the classical ballet bona fides of this youthful company. Arrayed in a line of five couples, the men in black tunics and the ladies in white tutus, they performed unison partnering showing off the easygoing style that became more evident as the program progressed.  Couples peeled off until only one remained, soon replaced by a succession of couples, all of whom performed charming, if not dazzling, turns, lifts and complicated steps, the men leaping and the women showing off balance and grace.  This was a charming lagniappe, a gift to warm up the audience’s expectations. [more]

Pilobolus: Summer 2024 Season

August 7, 2024

"Memory" brought back “Untitled,” a masterpiece from 1978.  This work had everything that made Pilobolus the world class dance troupe it became. Choreographed by Pilobolus founders Robby Barnett, Alison Chase, Martha Clarke, Moses Pendleton, Michael Tracy and Jonathan Wolken, and using disarmingly and misleadingly pleasant music by Robert Dennis, “Untitled” began with two women (Feliz and Klinkman) wearing ornate 19th century dresses as they lay on the ground having a pleasant picnic. (Costumes by Kitty Daly and Malcolm McCormick.) As they rose they slowly grew into giants, their legs clearly those of men.  These now eight-foot tall women moved gracefully about soon joined by two fully dressed men (Loman and Langford) who flirt with them.  As the two ladies were lowered onto their own legs, their supporters proved to be two naked men (Chaparro and Ellis), a bit of a shock to the audience, softened by the beauty of the two.  The two women wafted about blissfully unaware of the four men until the naked men resumed their positions under the women’s skirts as they floated off. This combination of period nicety, nudity and psychology and superb movement made for a hauntingly memorable work. [more]

Introdans: Energy (triple bill)

June 18, 2024

The Netherlands-based dance troupe Introdans (Roel Voorinthoff, artistic director) exploded onto The Joyce Theater stage in an aptly titled program, "Energy," making a very welcome return to this esteemed home for dance. Although worlds apart stylistically, the first two works, “Kaash” and “Concerto,” were choreographically similar, their form based on repetition of simple themes that gathered strength as each work progressed. [more]

Pontus Lidberg: “On the Nature of Rabbits”

March 8, 2024

How the metaphor of rabbits fit into this was puzzling, yet the dreamlike (nightmarish?) rabbit imagery was the strongest visual idea and pervaded the work, from a toy stuffed bunny to grotesque rabbit masks the dancers wore throughout the show.  Perhaps the stuffed bunny was akin to the madeleine which Proust tasted, leading to a river of memories and Á la Recherche du Temps Perdu, the rabbit inducing Lidberg to ponder his childhood? [more]

Twyla Tharp Dance: Winter Season 2024

February 20, 2024

Like her masterful Sinatra solo for Mikhail Baryshnikov, “Brel” takes Cornejo from a strolling meditating figure (“Quand On N’A Que l’Amour”) to an anguished lover (“Ne Me Quitte Pas”).  Cornejo twists and thrashes until the song “Amsterdam” had him gliding all over the stage.  The mood rises through “Les Marquises” and “Marieke,” matching Brel’s penchant for crescendo, leading Cornejo into jags of runs, leaps, turns and wilder gestures. Although not as immediate a success as her other ballets to songs, “Brel” will soon be a favorite of solo danseurs all over the ballet world. [more]

Compagnie Hervé KOUBI: “Sol Invictus”

January 25, 2024

This hotbed of virtuosity, indeed, made his troupe one gorgeous community of physically exuberant and fearless citizens.  Whether he communicated any deeper existential or human truths probably differs with each viewer’s sensibility, but watching these fine physical specimens flip, fly, roll and balance on their heads had its vicarious thrills, perhaps dimmed with the constant repetition of feats of athletic prowess to the point of exhaustion.  Perhaps sensing this, Koubi doubled down and ended the work with dancers being tossed high and caught at the last moment, an adrenaline rush if there ever was one. [more]

Ronald K. Brown/EVIDENCE: Winter 2023-24 Season

January 19, 2024

Ronald K. Brown/EVIDENCE, the Brooklyn-based dance company founded in 1985 is back at the Joyce Theater presenting two works by Brown showing off the exuberance, sensuality and technical brilliance of its eight dancers plus one guest artist. “Walking Out the Dark” (2001) was the more substantial work.  Using only four dancers—until the very end when company associate artistic director Arcell Cabuag performed a peculiarly out-of-place solo—Brown began in a quietly intense mood, gradually lightening up by the end of this uneven, but well-meaning 50-minute work. [more]

Momix: Fall 2023 Season

December 29, 2023

How the ten dancers of Momix create so many beautiful and mysterious images is a credit to artistic director Moses Pendleton and his associate Cynthia Quinn who, along with the dancers, create superb eye candy illusions.  In fact, the performers of Momix are billed as dancer-illusionists. This season at the company’s New York headquarters, the Joyce Theater, sadly, there was only one new work, “Floating.”  Instead, the program, entitled “Viva Momix,” consisted of sixteen oldies-but-goodies all staged with Momix’s signature expertise. [more]

tanzmainz: “Soul Chain”

January 28, 2023

Three solos were stunning in their display of physical endurance.  One woman moved forward, repeatedly kicking one leg behind her nearly touching her head with her foot.  Another, tall and lithe, stood at the foot of the stage and began writhing, wiggling and shaking in a very disturbing way, for a very long time.  And, a young bearded man stood dead center nearly surrounded by the group and began gyrating his head—forward, right, back, left—for more than fifteen minutes at an ever-increasing pace! All three solos were attempts at exhibitionism amidst the tedium.  All three solos were both horrifying and exhausting to watch, yet eerily fascinating. [more]

Burn

September 22, 2022

Although Alan Cumming is a charismatic performer, the distracting video design, the often overpowering music, and the often flashing lighting by Tim Lutkin, gets in the way of viewing the show. Much of the effect is created by the atmospheric lighting which periodically changes color (blue, green, red) yet at times it turns the evening into a multimedia event. Since none of the poems are clear enough to be understood, we learn little of Burns’ output as a poet though we do hear about his triumphs that lead to being lionized in Edinburgh. The contemporary music only rarely suggests the period. The dance elements also seem an eccentric way to portray this 18th century man who attempted to live life to the fullest. Cumming charmingly depicts this Scottish icon though he does come off as a lovable rogue. It is all an example of too much being too much. The rather coy ending has Cumming sitting on the edge of the stage declaiming Burns’ now famous poem, “Auld Lang Syne,” after the final curtain has already descended. [more]

The Sarasota Ballet 2022

August 19, 2022

The second Ashton ballet was "Varii Capricci," his clever take on Bronislava Nijinska’s "Les Biches" from 1924.  Her ballet was a tongue-in-cheek comment on the sexually liberated, chic young people of France.  Ashton set Varii to a witty score by Sir William Walton. La Capricciosa (a delightfully languid Danielle Brown, arrayed in Ossie Clark’s diaphanous white dress) is wooed by a gigolo, Lo Straniero (a hilarious, oily Ricardo Rhodes) whose intentions were clearly not honorable. These two were surrounded by a giddy ensemble that gamboled about watching them romantically self-destruct. "Varii Capricci" is light-hearted and lightweight, but impeccably presented. [more]

Momix’s Alice

July 11, 2022

Pendleton, in a program note, assures us that "Alice" is not a retelling of Carroll’s book.  Rather, he used some of the events and characters from the book, dividing the evening-length work into twenty-two sections with titles like “A Summer Day,” “A Trip of Rabbits,” “The Cheshire Cat,” “The Queen of Diamonds” and “The Wolf-Spied-Her.”  Although characters reappear—Alice, the Rabbits and the various playing cards queens—the episodes don’t particularly flow one into the other.  The takeaway is a series of fanciful images rather than a cogent whole work of theater. [more]

Parsons Dance: Fall 2021 Season

December 10, 2021

Parsons’ first work on the program was the tour de force solo “Balance of Power” performed by the phenomenal Zoey Anderson.  Clad in Barbara Erin Delo’s brilliantly colored tight costume—the bright red left sleeve particularly inventive—Anderson first appeared upside down in a golden spotlight. (Lighting by Chambers.) As she turned right side up, she began undulating to Giancarlo De Trizio’s sparkling score, her body reacting to every nuance of the quite rhythmic music.  Parsons unloaded hundreds of difficult tiny movements on her which she performed with skill and allure, stopping the show with her quickness and sensuality. [more]

Lucinda Childs’ “Dance” at The Joyce Theater

October 21, 2021

Before the dancers appeared live, "Dance" commenced with a burst of Glass’ iconic, pulsating music—here pre-recorded, originally performed live—and a still from LeWitt’s original video projected onto a scrim which covered the entire stage opening.  LeWitt’s videos, intimate contributions to the work, also served to honor the performances of the original cast:  Childs, Graham Conley, Cynthia Hedstrom, Erin Matthiessen, Daniel McCusker, Susan Osberg, Judy Padow, Ande Peck and Megan Walker. [more]

Ballet Vlaanderen

March 6, 2020

Ballet Vlaanderen was founded in 1969 by dancer/choreographer Jeanne Brabants, and the present artistic director since 2015 is Sidi Larbi Cherkaoui, who is known for his own award-winning choreography. Under his direction, the Flemish company, based in two places, Antwerp and Ghent, is dedicated to creating innovative new pieces and bringing important works to the stage. Stylistically, the company bridges the gap between ballet and modern dance. For their presentation at The Joyce Theater (March 3-7, 2020), Ballet Vlaanderen danced three pieces: "Kaash," "Faun," and "Ten Duets on a Theme of Rescue. " [more]

Dorrance Dance: The Nutcracker Suite

December 23, 2019

The music included the catchy, familiar tunes of "The Nutcracker Suite" by Peter Ilyich Tchaikovsky, first featured in classical ballet. The Dorrance version uses the absolutely wonderful jazz arrangement by Duke Ellington and Billy Strayhorn. No doubt the music would have been enhanced with a live orchestra, but one assumes that there was neither the budget nor the space for a Big Band orchestra. Nonetheless, the music is a marvelous interpretation, providing the perfect accompaniment for tap dancing – and certainly worth hearing again on its own. On occasion, however, there is no music, just the rhythmic sounds of tap dancing providing its own accompaniment. [more]

BalletX: The Little Prince

October 3, 2019

Antoine de Saint-Exupéry’s "The Little Prince" (1943) has been studied, analyzed, and staged as any number of plays, ballets, musicals and an unsuccessful film.  So, it was with great interest that I went to BalletX’s The Little Prince choreographed by fast-rising choreographer Anabelle Lopez Ochoa to a brilliant score composed and miraculously played by Peter Salem. BalletX, directed by the forward looking Christine Cox, is a modern ballet troupe stationed 90 minutes south of New York in Philadelphia.  The troupe combines classical ballet with modern dance and, in the case of the Little Prince, mime, singing, speaking and twisty modern dance. [more]

Rubberband: “Ever So Slightly”

September 22, 2019

Quite simply, Rubberband, the Montreal-based dance troupe’s season at The Joyce Theater was a spectacular success.  Directed by Victor Quijada, Rubberband performed his "Ever So Slightly," a 75-minute investigation of contemporary angst staged to original music by Jasper Gahunia and William Lamoureux, played live. "Ever So Slightly" came at the audience in waves, starting with calm, gentle waves and ending in a tsunami of roughness and near anarchy. [more]

Ballet Festival 2019: Program D

August 21, 2019

The fourth piece, titled “3 with D” was choreographed by Javier de Frutos and was the only performance that included live music. Patrick Gallagher was on piano in front of the stage and Dan Gillespie Sells sang and played guitar center stage, simply and straightforward, making the most of music, which was a compilation of songs by Ivor Novello, George Gershwin, and Cole Porter. Next to Sells were two chairs – something of a “set” compared to the other bare-stage designs. Danced by Watson and Fairchild, it was more of a drama than any of the other pieces. Although there was little linear plot, it was a gay love story. The familiar lyrics of Gershwin’s “The Man I Love” had a different connotation when referring to two men. The two performers were such gorgeous dancers, and very similar body types, so when they moved in synchronistic unison, it created a beautiful effect. [more]

Ballet Festival: Program A

August 10, 2019

Joseph Sissens in Sir Frederick Ashton’s “Dance of the Blessed Spirits,” in The Joyce Theater’s Ballet Festival (Program A) (Photo credit: Maria Baranova)The Joyce Theater is presenting a two-week Ballet Festival, four programs under the artistic direction of Kevin O’Hare, director of The Royal Ballet.  Each program is curated by a different dance expert, the first by O’Hare, himself.Program A was divided into two parts, the first the more sedately classical, the second showing newer, more contemporary fare.  It was a fascinating, focused study of the state of ballet today, featuring, appropriately, two works by the British master of classical ballet, Sir Frederick Ashton. [more]

Freddie Falls in Love

July 26, 2019

How Freddie resolves his amorous adventures is cleverly handled by Blackstone using an imaginative combination of ballet, modern dance, mime and popular dance forms.  The score is made up of over twenty songs including:  “Why Do Fools Fall in Love?.” “Dream Lover,” “We Are In Love,” “Bei Mir Bist Du Schoen,” “La Valse á Milles Temps,” “Makin’ Whoopee,” “I’ll Be Seeing You,” and a song written and performed live by Mike Brun. [more]

Maria Kochetkova: Catch Her If You Can

July 18, 2019

Russian-born Maria Kochetkova, the petite ballerina who spent the major portion of her career with the San Francisco Ballet, has turned herself into a small-scale Diaghilev.  Her Maria Kochetkova: Catch Her If You Can at The Joyce Theater is a gathering of five brilliant dancers (including herself) dancing the works of seven contemporary choreographers.Even with her name on the program, Catch Her If You Can was pleasantly un-self-aggrandizing, feeling more like a—very expensive—jam session.So ego-free was the evening that Ms. Kochetkova clearly felt no reluctance to pair herself with Drew Jacoby in Jacoby’s duet “Rachel, Nevada” choreographed to an eerie score by Sam Spiegel. [more]

The Bournonville Legacy

July 11, 2019

The second part of the program was a bonanza of Bournonville excerpts, danced to not particularly memorable scores, that worked well even without colorful scenery.  The beautiful, colorful costumes, arranged by Katharina Neergaard certainly helped, particularly in “The Jockey Dance” from From Siberia to Moscow danced exuberantly by Marcin Kupinski and Alexander Bozinoff dressed in brilliant red jockey duds.  The only criticism:  they might have looked less glum in their facial expressions. [more]

Lady5 @ Savion Glover’s BaRoQUE’BLaK TaP CaFé

July 9, 2019

No Picture
Whatever Glover discussed in the opening – about identity and wearing masks – may have been relevant, but the program could be seen simply as a revue.  A wide variety of recorded music was played. The first music sounded like something you’d hear in a French café, and in fact was recorded by a group called French Café Ensemble. Other musical styles included classical (Bach), jazz, pop, salsa, Trinidadian, hip hop, and more, performed by Quincy Jones, Stevie Wonder, Bjork, and others. The dancing paralleled the music. Special mention must go to Brandon Stirling Baker whose lighting design created the changes in atmosphere, subtly separating the numbers. [more]

Complexions Contemporary Ballet: Program A

February 28, 2019

In “Star Dust,” a 2016 ballet tribute to David Bowie, Rhoden displayed his mordantly campy side in a series of scenes, each devoted to a famous Bowie number, beginning with Brandon Gray leading the company in “Lazarus,” setting the format for the rest of the ballet.  His face streaked with makeup, his hair aglow with color, Gray prowled proudly about the stage mouthing the words that Bowie sang.  He seemed very satisfied with himself. [more]

Balletboyz: “Young Men”

February 7, 2019

The two directors/founders of BalletBoyz, Michael Nunn and William Trevitt, directed and photographed the film which also included Pérez’s choreography.  Although the movie certainly illuminated the dark themes for a screen-crazy audience, it too often was a distraction when the dancers were performing in front of the screen, spread out across the Joyce stage.   Having to choose between the live and the filmed action became a problem even though both were of equal technical merit. [more]

L-E-V:  Love Chapter II

January 29, 2019

Casual strolling was suddenly punctuated by dancers bumping and grinding at each other, these full-bodied movements resonating in slightly different ways in each dancer, sometimes leading to entwining, slithering, sweaty duets.  Faces displayed over-the-top grimaces and uneasy forced smiles which led to desperate, phony-sounding laughing.  Arms were swung or used to produce angular silhouettes with studied nonchalance. Bodies twitched and twisted to staccato beats—music composed and arranged by Ori Lichtik whose score for “Love Chapter II” began with barely audible electronic beats which grew in volume and speed until the score suddenly became a Latino Cha-Cha to which the dancers seemed to glory. [more]

Batsheva – The Young Ensemble: “Naharin’s Virus”

July 16, 2018

Naharin is known for having “invented” a movement language called Gaga.  Frankly, I’ve never been able to distinguish Gaga from any other movement palette.  If Gaga means disconnected bits of movement utilizing hints of modern, ballet, hip-hop, mime and even ethnic movements, then it’s not particularly original.  All these movement vocabularies were on display in “Naharin’s Virus” whose sixteen-member cast was put through their paces for an overlong hour.  (The work could easily have been edited down by at least twenty minutes and been more effective, particularly by eliminating a long monologue about a self-abusing young lady.) [more]

Parsons Dance Company 2018

May 22, 2018

The new work, “Microburst,” was a quartet performed to classical Indian music composed and played live by Avirodh Sharma.  Brilliant and audacious, “Microburst” took the four dancers, all wearing black, fringed outfits—by Barbara Erin Delo— through complex rhythmic patterns that magically fit together as if the four were having a hyperkinetic conversation with their feet.  The agility of the four dancers—Geena Pacareu, Eoghan Dillon, Zoey Anderson and Justus Whitfield—was breathtaking and entertaining. [more]

Copyright Jack Quinn, 2001-2023