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New York City Ballet: Carousel [A Dance], Thou Swell, Slaughter on Tenth Avenue
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New York City Ballet: Carousel [A Dance], Thou Swell, Slaughter on Tenth Avenue

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New York City Ballet
(New York City Ballet Website)

Carousel [A Dance]
Thou Swell
Slaughter on Tenth Avenue

Founders: George Balanchine and Lincoln Kirstein
Founding Choreographers: George Balanchine and Jerome Robbins
Ballet Master in Chief: Peter Martins
Ballet Mistress: Rosemary Dunleavy
Children’s Ballet Master: Dena Abergel
Orchestra, Music Director: Andrew Litton
Resident Choreographer: Justin Peck
Managing Dir. Communications & Special Projects: Robert Daniels
Associate Dir. Communications: Katharina Plumb
Communications Associate: Kina Poon
The David H. Koch Theater, Lincoln Center
www.lincolncenter.org

Dr. Roberta E. Zlokower
February 22, 2017


(Read More NYC Ballet Reviews).

See Images Below from New York City Ballet’s Winter Art Series by Santtu Mustonen, Mixed Media: Projections and C-Prints on Aluminum.

Conductor: Andrews Sill

Carousel [A Dance] (2002): Music by Richard Rodgers, Choreography by Christopher Wheeldon, Arranged and Orchestrated by William David Brohn, Costumes by Holly Hynes, Lighting by Mark Stanley, Performed by Tyler Peck, Zachary Catazaro, Sara Adams, Devin Alberda, Kristen Segin, Daniel Applebaum, and the Company.

In this rapturous 2002 Wheeldon work, Zachary Catazaro partnered Tiler Peck with youthful fervor and dramatic intensity. Tonight this dance took on a purposeful, muscular momentum, transporting the imagination to the inherent plot lines of the larger show. Mr. Catazaro portrayed his character with brooding introspection, while Ms. Peck was in total abandon. Ms. Peck was seen in tiny runs en pointe, to and fro, with buoyant landings in Mr. Catazaro’s arms. She danced with determination and bright persona. The cartwheel motif was even more pronounced, with men entering in this turning motion, then holding women in repetitions. Sara Adams, Devin Alberda, Kristen Segin, and Daniel Applebaum all danced with enthused musicality. Maestro Sill kept the sweeping score sumptuous; Rodgers’ “If I Loved You” never sounded better.


Thou Swell (2003): . Music by Richard Rodgers, Music Arranged by Glen Kelly, Orchestrations by Don Sebesky, Choreography by Peter Martins, Scenery by Robin Wagner, Costumes by Peter Copping of Oscar de le Renta, Costumes supervised by Marc Happel, Lighting by Mark Stanley, Guest Singers, Leah Horowitz and Joseph Eletto, Trio: Alan Moverman on Piano, Ron Wasserman on Bass, James Saporito on Drums, Performed by Sterling Hyltin, Chase Finlay, Rebecca Krohn, Amar Ramasar, Sara Mearns, Jared Angle, Teresa Reichlen, Ask la Cour, and the Company.

Peter Martins’ Thou Swell is always a draw and a high point of the evening. With four couples in rapturous leaps and embraces, against one of the most magnificent backdrops and scenery ever invented for ballet, Thou Swell once again brought the audience to endless accolades. A tilted mirror in the rear visually echoes the dance onstage. The Richard Rodgers songs, like “Getting to Know You”, “My Heart Stood Still”, and “The Lady Is a Tramp”, are played by City Ballet Orchestra, tonight conducted by Andrews Sill, with the requisite three-man jazz trio of orchestra members and two guest singers. Leah Horowitz and Joseph Eletto, the Guest Singers, were especially entrancing in vocal expression. Robin Wagner’s scenery has the mirror bent back with elegant stairs. It achieves the concept of an onstage nightclub, with bistro tables and the Corps as waiters.

Amar Ramasar, partnering Rebecca Krohn (in Peter Copping’s cut-out, long, fuchsia gown and darker fuchsia, furry stole), grabbed the attention in dance after dance. The musical arrangements and orchestrations are rapturous. Mr. Ramasar caught Ms. Krohn when she leaped off the stairs, before he spun in aplomb. Ms. Krohn was dazzling and intriguing throughout. With the immediacy of the live singers and onstage trio, on piano, bass, and drums, the audience is swept in. Sterling Hyltin was partnered by Chase Finlay. Mr. Finlay and Ms. Hyltin were stylized and ravishing, with Ms. Hyltin’s green-fringed mini gown glowing in the spotlight. The men, in black tuxes, were mostly on fire tonight (Mr. Finlay seemed cautious), making the most of the high-rhythm dance tunes. But, Mr. Ramasar wins the wow-award, with dizzying spins, dashes, and ballroom partnering extraordinaire.

Sara Mearns and Jared Angle lusciously spun about, and Mr. Angle even took a few bars at the keyboard, in between hopping about in youthful fervor as if he were on a date. Ask la Cour, who partnered the magnetic Teresa Reichlen in a sexy, slinky, bare-back gown, was beaming and took extra risks, with high kicks to his head that matched the long-limbed Ms. Reichlen. I still wish that this ballet would be expanded with a story line for two or three acts. It would be a smashing success with a high society theme. Maybe even a little extra drama for the onstage jazz trio, which was superb.


Slaughter on Tenth Avenue (1968): Music by Richard Rodgers (from On Your Toes, 1936), Re-Orchestrated by Hershy Kay, Choreography by George Balanchine, Scenery by Jo Mielziner, Costumes by Irene Sharaff, Original Lighting by Ronald Bates, Lighting by Mark Stanley, Performed by Tyler Angle, Maria Kowroski, Russell Janzen, Daniel Applebaum, and the Company.

Tonight’s full program was Richard Rodgers-themed, and Balanchine’s Slaughter on Tenth Avenue, excerpted from the 1936 show, On Your Toes, is a favorite of City Ballet audiences. This production shows a witty side of Balanchine, beginning with Morrosine, a premier danseur noble (Daniel Applebaum), who hires a Gangster (Aaron Sanz) to sit upstairs and shoot the show’s Hoofer (Tyler Angle), in his final dance. It’s a show within a ballet, with Maria Kowroski as the Striptease Girl, pretending (in the ballet’s skit) that she’s really shot, and a Big Boss (Russell Janzen), who thinks he owns the Girl, so he’s jealous of the Hoofer. There’s also a Thug (Harrison Coll) in the show within the show, Bartenders, Policemen, and Ladies and Gentlemen of the Ballet (Corps).

This delightful Robbins work was so welcome as the closing ballet of Winter Season, with its entertaining set by Jo Mielziner, and its rousing Rodgers score (re-orchestrated by Hershy Kay). Irene Sharaff’s sexy, retro costumes add even more life to this very vibrant ballet. Ms. Kowroski’s long limbs seize the stage, as she lifts them over Tyler Angle in some mesmerizing moves. Mr. Angle’s hoofing is now astute and pulsating, and he dances with boundless spirit. Mr. Janzen was commanding as Big Boss, as he grows into this role, and Mr. Applebaum had a front-curtain speaking role with charming effect. At times, the Gangster stole the show. Mr. Sanz sat Side Parterre, adjusting his hat and his gun, as the Hoofer danced and danced. Maestro Sill kept the music rambunctious.



Rebecca Krohn and Amar Ramasar
in Martins' "Thou Swell"
Courtesy of Paul Kolnik




Maria Kowroski and Tyler Angle
in Balanchine's "Slaughter on Tenth Avenue"
Courtesy of Paul Kolnik




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower




Santtu Mustonen Mixed Media Installation
"Cross Pollination": Projections and C-Prints on Aluminum
On The Prominade at Koch Theater
Courtesy of Roberta Zlokower


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