Eye On the Arts

CHE MALAMBO February 14, 2020 Che Malambo captured the Joyce Theatre’s audience from the moment the cast of 12 dancers appeared through the dark stage against a bright backlight with a crescendo of zapateo - Argentinean rhythmic footwork - culminating in a roaring shout. Choreographed and staged with rampant showbiz and savoir-faire, Gilles Brinas catered an array of traditional Argentinean dances set in an austere contemporary framework. For the entire performance, the dancers wore a single outfit compose of neutral black sleeveless shirts, plain black pants and Malambo boots. The evening started with a variation of the widely known Malambo Norteño, characterized by its brisk zapateo characterized by fast shuffles, hip twists, inverted leg whips, kicks, heel scuffs, toe accents, all embellished by its steady elegantly proud stance. A vibrant feast of bombo legueros followed with the cast showcasing their drumming mastery. Commendable was the soloist that introduced Malambo sureñ

NYC BALLET: EPISODES February 10, 2020 Historic works rarely revived at NYC Ballet both puzzled and delighted audiences. Last performed in 1993, George Balanchine’s charming Haieff Divertimento (premiered 1947) showcases the company’s new class of ace dancers. In a combination of classical ballet and a jazzy, modern dance vocabulary the ballet features one lead couple, the engaging Unity Phelan and Harrison Ball along with 4 supporting couples. Musically, it flows in a five-part piece that flexes its danceable American music roots—at times referencing Balanchine’s  Square Dance . If  Haieff Divertimento  resembles bubbly wine, then the 1959  Episodes  equals a dry martini—hold the olives. An early experiment meant to bring together two giants of dance world, Balanchine and Martha Graham, Episodes was broken into two parts, separated by one intermission, united through Anton von Webern’s music, and the exchange of a couple of dancers. At the time, Taylor was a member of the

Known for the width and breadth of his rich dance vocabulary, for his sixth NYC Ballet commission Alexei Ratmansky stepped outside the David H. Koch Theater at Lincoln Center, made a right turn down Broadway directly into the lap of the downtown post-modern dance scene. Or perhaps another analogy might be the difference between Tolstoy and Hemingway. To start, Instead of binding his choreography to a complex, highly orchestrated score by the likes of Shostakovich, Prokofiev, or Leonid Desyatnikov, Ratmansky embraces an sound score by the avant-garde composer Peter Ablinger that super-imposes spoken text over a single piano line. The audio elements are visually projected on the scrim in the form of a recorded signal (looks like a PolyGram in a lie detector test). In stark contrast to Ratmansky’s filigree choreography the score suggests concise, direct, staccato movements that stop and start like a clock being constantly re-set. Sharp-shooting ballerinas forging the heart of