Below the fold is one of the oddest reviews I’ve ever written, but it’s what came out when I started writing about Joffrey Ballet’s performance of Krzysztof Pastor’s Romeo and Juliet tonight. I’ll post a more conventional review in the next couple of days, which will say more about the dancers and what I think worked and didn’t. This is mostly about the story Pastor chose to tell. It is not an easy ballet to watch. Continue reading
The day before I went to see New York City Ballet’s Nutcracker, I wrote a post about how much the ballet meant to me. It’s the ballet I’ve been in and seen the most, the ballet that I’ve seen the most companies perform, the ballet of which I’ve seen the highest number of different choreographies.
But I love the ballet that comes in second in all of those categories just as much. Differently, because it doesn’t dominate my memories of a month the way that Nutcracker means December to me, but it’s still a deep, difficult-to-describe love that has led me to do dramatic and unreasonable things.
Romeo and Juliet.
Okay, look, before you say anything, I don’t like the play very much. I don’t think it’s one where Shakespeare is at his best in terms of language or telling a story, and I have patience for none of the characters. (In particular, Friar Lawrence and the Nurse should both act more responsibly than they do.)
But all of that fades away for me in the ballet. I believe the relationship between Romeo and Juliet more, no matter where on the lust to love spectrum it is portrayed (and I’ve seen it at both extremes). All the key relationships come through better to me in dance, to tell the truth. The omissions and simplifications to the story strengthen it, and the time spent on Verona and its people gives a stronger sense of place and shows how the feud touches everything. And then there’s Prokofiev’s score, of which I know and love every note.
As Meg Howrey wrote in The Cranes Dance, “I would argue that the ballet is better than the play. If you disagree, it’s only because you’ve never seen the balcony scene pas de deux or you are made of igneous rock.”
I have seen or performed in Romeo and Juliet nine times. I’ve seen six choreographies performed by five companies, without counting what I’ve seen on film. (And in this case the ones I’ve seen on film are important because I’ve never seen the Macmillan, Cranko, or Lavrovsky versions live, and those are the three.) I wrote a paper and gave a presentation in college that were mostly excuses to talk about how important in ballet history and how perfect R&J is.
While living in Budapest for a semester, I timed weekend trips to Bratislava and Prague so that I could see the ballet companies there perform R&J. I went to Oklahoma City from Boston for a weekend to see Oklahoma City Ballet’s new R&J production, and about a year later I went to Toronto for less than twenty-four hours solely to see National Ballet of Canada do Ratmansky’s choreography. When I say I’ve done dramatic and unreasonable things for the sake of this ballet? The international and/or hundreds of miles of travel is what I’m talking about.
In comparison to that, buying my tickets for the Joffrey’s performance of Romeo and Juliet at Lincoln Center on the day they went on sale four months ago? That’s normal. And now, finally, that performance is this week.
I cannot wait to hear the familiar opening notes of Prokofiev’s overture and see the curtain rise, once again, on Verona.
NYCB’s All Rodgers program included three pieces by Richard Rodgers. First was Christopher Wheeldon’s Carousel (A Dance), using music from the musical Carousel. The next piece was Peter Martins’s Thou Swell to a variety of Rodgers songs with lyrics mainly by Lorenz Hart. The final piece was George Balanchine’s Slaughter on Tenth Avenue, from the Rodgers and Hart musical On Your Toes. Continue reading
Paul Taylor American Modern Dance is currently in the middle of their season at Lincoln Center. The performance I saw included three works. First was Danbury Mix, a 1988 piece to music by Charles Ives. It was followed by a new work, Ports of Call. The program ended with one of Taylor’s better known pieces, Black Tuesday. Continue reading
This semester has really not been my greatest at the Joyce. I enjoyed the two Graham performances I attended. Other than that, though, I liked BodyTraffic’s dancers but thought they needed better material, had similar thoughts on Complexions (though their material was more interesting than BodyTraffic’s), Ballet de Lorraine’s Unknown Pleasures was my least favorite piece I’ve seen all year, and most recently I found Gauthier Dance’s production of Goecke’s Nijinski deeply problematic, to say the least. Continue reading
It’s been more than two years since I was last in Budapest, but I think pretty regularly about going back, about the things I’d want to do, places I’d want to go, no matter why I was there or for how long. One of the places that always made the list — perhaps the top priority, as odd as it seems — was the Cat Café on Damjanich utca. Continue reading
Going into New York City Ballet’s Sleeping Beauty last Friday, I was mostly excited about the pair who would be dancing Aurora and Desire, Tiler Peck and Tyler Angle. Spoiler for the below review: they more than lived up to expectations. The production overall was quite enjoyable, but they were the highlight. Continue reading
I just realized that it’s now been more than a year since I came on my accepted student visit to Columbia. Continue reading