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Fall for Dance: Company Rafaela Carrasco, New York City Ballet, Bill T. Jones/Arnie Zane Dance Company, Companhia Urbana De Dança
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Fall for Dance: Company Rafaela Carrasco, New York City Ballet, Bill T. Jones/Arnie Zane Dance Company, Companhia Urbana De Dança

- Onstage with the Dancers

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NY City Center
Fall for Dance – Program II

Company Rafaela Carrasco

New York City Ballet

Bill T. Jones/Arnie Zane Dance Company

Companhia Urbana De Dança

At New York City Center

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

Dr. Roberta E. Zlokower
September 30, 2010

Company Rafaela Carrasco
Three Movements (adapted for FFD): Choreography by Rafaela Carrasco, David Coria, Jose Maldonado, Music by Juan Antonio Suarez “Cano”, Costumes by Elisa Sanz, Lighting by Gloria Montesinos, Production Manager: Alejandro Salade, Singer: Gema Caballero, Performed by Rafaela Carrasco, David Coria, Jose Maldonado.

Rafaela Carrasco’s Three Movements was one of the most exciting flamenco dances I’ve seen. The dramatic drive inherent in this piece is bold and expressive. The entire company brings flamenco to a new level, with unpredictable swirling, palmera clapping, and spellbinding footwork. The essence of flamenco is mesmerizing momentum in the rhythmic beat of the cajón and palmeras. Ms. Carrasco’s huge scarf, white airy shirt, and long ruffled white skirt enhanced the energy of her intense focus and facial gestures. David Coria’s dance partnering and solos in “Los 4 Muleros” and “Café de Chinitas” (with Jose Maldonado), plus Ms. Carrasco’s dance solos in “Percussion”, with musician, Nacho Arimany, were stunning. The program lists these excerpts from “three evening-length works” as “cutting-edge flamenco”, and they certainly were.

New York City Ballet
Red Angels (1994): Choreography by Ulysses Dove, Music by Richard Einhorn (“Maxwell’s Demon”), Costumes by Holly Hynes, Lighting by Mark Stanley, Musician: Cenovia Cummins on Electric Violin, Performed by Maria Kowroski, Teresa Reichlen, Adrian Danchig-Waring, and Tyler Angle.

It was good to see four familiar dancers from New York City Ballet, who are always riveting, but tonight more than spectacular. Ulysses Dove’s Red Angels, contemporary and lyrical, brought out principals, Maria Kowroski, Teresa Reichlen, and Tyler Angle, plus the supremely talented soloist, Adrian Danchig-Waring, in red unitards to Richard Einhorn’s stark “Maxwell’s Demon”, played by Cenovia Cummins on electric violin. I wish City Ballet could stage this piece soon, as, as soon as it ended, I wanted to see it again. Ms. Kowroski and Ms. Reichlen are both long-limbed and intense, perfectly matched here in physique and psyche. Their scissors-sharp kicks were split-timed and stunning. Mr. Angle and Mr. Danchig-Waring are youthfully nimble with rippling muscularity, features that shone in this magnetizing work. In fact, Mr. Danchig-Waring is one of the most fascinating male dancers on stage in New York. He grabs the eye and transports the viewer.

Bill T. Jones/Arnie Zane Dance Company
Duet (1995): Choreography by Bill T. Jones, Music by Girls Chorus in Madagascar, John Oswald, Daniel Bernard Roumain, Scenery by Bjorn Amelan, Costumes by Liz Prince, Lighting by Robert Wierzel, Production Stage Manager: Kyle Maude, Lighting Supervisor: Laura Bickford, Performed by Shayla-Vie Jenkins and LaMichael Leonard, Jr.

I was less impressed with the Bill T. Jones/Arnie Zane Dance work, Duet. Shayla-Vie Jenkins and LaMichael Leonard, Jr. danced a distant then somewhat together duet, with muscular tensing, leg extensions, exercise motifs, and slung torsos. There were some lightning quick changes in motion, but this seemed less dance than acrobatic images. Neither performer convinced in an aesthetic momentum.

Companhia Urbana De Dança
Id:Entidades (US Premiere): Choreography by Sonia Destri with Companhia Urbana De Dança, Music by Rodrigo Marçal, Staged by Marcio Destri, Costumes by Urban CUD Outfit, Lighting by Dominique Palabau, Lighting Operator: Ton Bernardes, Production Manager: Ivan Vasconcelos.

In bare chests and dark blousy pants, nine young male dancers danced to hip-hop, à la Brazil, while I longed for Samba. Just like the let-down feeling of the Israeli dance segment the night before, Companhia Urbana De Dança was the anti-Rio from Rio. These were the dancers and dances of Rio’s “suburbs and favelas”, but it was merely repetitive, one-dimensional, jarring, and gyrating. You could see this “urban” dance in almost any US high school, and, again, it did not showcase dance from Brazil. Dancers came one, two, then three at a time, from a dim background row, and they showed off macho skills, falling on the floor, rolling their arms, spinning low, or catapulting about.

Rafaela Carrasco & David Coria
Courtesy of Jose Vallinas

Tiago Sousa and Miguel Fernandezy of Sonia Destri

For more information, contact Dr. Roberta E. Zlokower at