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Fall for Dance: Boston Ballet, Paul Taylor Dance Co., Batsheva Dance Co, Savion Glover
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Fall for Dance: Boston Ballet, Paul Taylor Dance Co., Batsheva Dance Co, Savion Glover

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New York City Center
Fall for Dance – Program I

Boston Ballet
www.bostonballet.org

Paul Taylor Dance Company
www.ptdc.org

Batsheva Dance Company
www.batsheva.co.il

Savion Glover and the OtheRz
www.saviongloverproductions.com

At New York City Center
www.nycitycenter.org

Arlene Schuler, President & CEO
Mark Litvin, Sr. VP & Managing Director
Ellen Dennis, Producer
Wendy Perron, Artistic Director
Clifton Taylor, Festival Lighting Director
Leon Rothenberg, Festival Sound Director
Press: Helene Davis Public Relations

Dr. Roberta E. Zlokower
September 22, 2009


Boston Ballet
Afternoon of a Faun (1912): Choreography by Vaslav Nijinsky, Music by Claude Debussy, Staged by Ghislaine Thesmar, Scenery by Leon Bakst, Lighting by John Cuff, Production Manager: Benjamin Phillips, Performed by Altankhuyag Dugaraa, Laura Feijoo, and an ensemble of Nymphs.


Tonight was my first of five nights at New York City Center’s Fall for Dance, a dance festival of numerous genres, with four different companies performing each night, creating an eclectic mix of styles, ethnicities, and motifs. For tonight’s Opening Night festivities, the hall was packed, energized, and eager to see companies that rarely come to New York, as well as previews of companies to perform in the 2009-2010 season. Arlene Schuler, President and CEO of New York City Center, was awarded the 58th annual Capezio Dance Award for her contributions as a dancer, foundation executive, and arts administrator. Anthony Giacoio, president of Capezio Foundation, spoke about Ms. Schuler’s accomplishments, as did Edward Villella, Artistic Director of Miami City Ballet and beloved, former principal dancer with NYC Ballet. This year’s Fall for Dance also honors Diaghilev’s Ballets Russes, on its 100th Anniversary, and the evening was off to a buoyant start.

Nijinsky’s 1912 Afternoon of a Faun has always been one of my favorite works. I vividly remember Nureyev dancing this role with this very company, in mystical magnetism. I even have an original photograph of Nureyev in Faun. Altankhuyag Dugaraa, Boston Ballet’s faun tonight, did not grip my attention, as Nureyev does in my memory, a hard act to follow. Dugaraa was youthful, taut, and exotic, but there was little chemistry between the faun and the nymph, Laura Feijoo. This was a self-possessed, shallow faun, compared to the vulnerable, yearning nymph. With her stunning ensemble of six nymphs, Ms. Feijoo sparked the imagination in ways that eluded Mr. Dugaraa. In time, he may delve deeper into the psyche of the faun. Bakst’s scenery and costumes, with Nijinsky’s iconic choreography, as always, drew me in.


Paul Taylor Dance Company
Offenbach Overtures (1995): Choreography by Paul Taylor, Music by Jacques Offenbach, Costumes by Santo Loquasto, Lighting by Jennifer Tipton, Performed by the Company.


Paul Taylor’s Offenbach Overtures never disappoints, and there’s no such thing as seeing this work too often. It’s campy, unique, brightly colored, predictably unpredictable, witty, and choreographed to showcase this company’s amazing talents. In Napoleonic hats, faux mustaches, faux can-cans, faux duels, faux kisses, short heels, boots, and off-balance postures, the company was hilarious. Santo Loquasto’s costumes are too delightful to be seen so briefly. He should sell a clothing line of his eye-catching concoctions.


Batsheva Dance Company
B/olero (from Project 5) (2008): Choreography by Ohad Naharin, Music by Maurice Ravel, Recorded by Isao Tomita, Costumes by Alla Eisenberg, Lighting by Avi Yona Bueno (Bambi), Production Manager: Roni Cohen, Performed by Iyar Elezra and Bobbi Smith.


Batsheva Dance Company, from Israel, led by choreographer and Artistic Director, Ohad Naharin, presented a take on Ravel’s “Bolero”. Considering the fact that Batsheva was founded in Israel by Martha Graham and Baroness Batsheva de Rothschild, I expected great things. However, this duo dance seemed almost not worth mentioning, with two female dancers in short black costume dresses moving up, down, against each other, on the floor, and about the stage in Isao Tomita’s electronic version of Ravel’s masterpiece. The work appeared nonsensical and below the standards of this event.


Savion Glover and the OtheRz
The StaRz and StRiPes 4EvEr for NoW (2005): Choreography by Savion Glover, Music by Savion Glover, Staged by SMP, Costumes by SMP, Lighting by Savion Glover, Performed by The HooFeRz: Savion Glover, Marshall Davis, Jr., Cartier Williams, and The OTHeRz: Tommy James, Patience Higgins, Victor Jones, and Andy McCloud.


I have never been a huge fan of Savion Glover, but tonight I was caught in the concept. Mr. Glover is actually one of the rhythmic instruments, his body creating tap effects that resonate through the hall. He was soon joined by Tommy James, Patience Higgins, Victor Jones, and Andy McCloud, on bass, sax, drums, and piano, and the volume and momentum built, especially with two additional tappers, Marshall Davis, Jr. and Cartier Williams. Each dancer took a solo on the small tap stage, then a duo, then a trio, and the audience loved every minute of this dynamic jam session. When the lighting turned red, the spectacle turned hotter.



Boston Ballet
in "Afternoon of a Faun"
Courtesy of Rosalie O'Connor




Boston Ballet
in "Afternoon of a Faun"
Courtesy of Rosalie O'Connor




Paul Taylor Dance Company
in "Offenbach Overtures"
Courtesy of Paul B. Goode




Batsheva Dance Company
in "B/olero"
Courtesy of Gadi Dagon




Batsheva Dance Company
in "B/olero"
Courtesy of Gadi Dagon




Savion Glover & The OTHeRz
in "THE StaRz and STRiPes 4EVeR for NoW"
Courtesy of Courtesy of Savion Glover Productions



For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net