Two Hearts by Benjamin Millepied

Two Hearts (World Premiere) Benjamin Millepied

With music by Nico Muhly and costumes by Rodarte, Two Hearts is a subtle and elegant dance of romance with structure and power.

Two Hearts (World Premiere) Benjamin Millepied

The most noticeable thing about this piece is how quiet it is. I did not hear one clanking of pointe shoes on the marley floor. Not one pounding of the men coming down from challenging jumps. Not the heaving breaths from dancers. It was so quiet that it felt like there was something wrong with my hearing. An unexpected element that added to its beauty.

The intricacies of the layered choreography of the corps could truly be found through that silence. They were off and onstage and together and apart so quickly and so effortlessly, adding to the spectacular pairing of Tiler Peck and Tyler Angle. Their emotion was palpable but not over the top. And their dancing was spectacular.

Two Hearts (World Premiere) Benjamin Millepied

All in all, with its minimalism in all but the choreography, this work is one of my new favorites.

P.s. As my friend and I were discussing all the things we loved about the piece, the lighting, the costumes, the music, the choreography, she said, nonchalantly, “and the time-code of the music…exquisite.” No joke.

Leave a Comment

Filed under Art, Dance

Barcelona Ballet at New York City Center

Barcelona Ballet Palpito Photo Erin BaianoBarcelona Ballet at New York City Center was really bad and, in spite of that, I enjoyed it and found it extremely entertaining.

The Barcelona Ballet (formerly Corella Ballet) was founded by American Ballet Theatre’s principal dancer Angel Corella to become the premier classical ballet company in Spain. It is a young company excepting Corella and his sister. Their technique needs some work and their grasp on the choreography was not quite there. With my absolutely perfect seats in the newly renovated City Center, it was evident that the dancers need more time to mature.

Barcelona Ballet Bruch Violin Concerto No.1The first piece, Bruch Violin Concerto No. 1 with choreography by Clark Tippet, was a beautifully staged classical piece that was executed the best of three pieces. It was light and pleasant though Corrella’s sister, Carmen, was a thorn in the dancers’ side with her height and stiffness.

The second piece, For 4, was choreographed by Christopher Wheeldon for the principal male dancers at ABT known as the “Kings of Dance.” The piece was great but the dancers were not comfortable with the contemporary choreography. It seemed alien to their bodies.

The final piece, Pálpito, had its world premiere choreographed by Rojas & Rodriguez. It should have been a dream come true – to see flamenco and ballet combined – but my bewildered moments outnumbered my moments of excitement and awe. The lighting, the music, and the costuming were a saving grace to the cliched dance story in which the main character (Corella) finds himself lost and in search of his soul. The finale left me rolling my eyes with its cheesiness and bravado. It’s too bad too because the opening had so much promise with its incredible rhythm, precision and the duende spirit it exuded.

All in all, I commend Barcelona Ballet for its efforts and look forward to seeing it grow and become more refined.

Leave a Comment

Filed under Art, Dance

Zoe | Juniper: A Crack in Everything at New York Live Arts

Zoe Juniper A Crack in Everything Christopher Duggan

Alexander McQueen meets Merce Cunningham’s BIPED meets Broadway’s Sunday in the Park with George Revival 2008 meets Nacho Duato in Zoe | Juniper’s stunning and frightening A Crack in Everything.

Zoe Juniper A Crack in Everything Christopher DugganI ran into an old friend of mine at the Gibney Dance Center on Monday night who said that he was performing with Zoe | Juniper this very week. I said, I would love to see him perform but I had no idea just how amazing and absolutely unique the performance was going to be.

Zoe Juniper A Crack in Everything Gia GoodrichA Crack in Everything has everything – dramatic costumes, complex projections, dynamic pacing, a rich score, exquisite dancing – and yet it is not over the top. It all works together seamlessly to present an intellectual and animalistic expression in dance exploring the thresholds of conscious/unconscious, action/reaction, before/after and cause/effect.

Zoe Juniper A Crack in Everything Gia Goodrich Raja Feather KellyThere were many moments where I thought, “this can not go any further” – where the limits were pushed to the brink, and yet the performance crossed that brink and continued with this flawless yet forceful elegance.

All in all, Zoe | Juniper has fulfilled the purpose of their collaboration to immerse the audience in the conjunction of the physical and fantastical realms.

Leave a Comment

Filed under Art, Dance

Ice Cream Lesson with 365 Scoops

365 ScoopsI love ice cream. It is my favorite food and I recently had the amazing opportunity to have an “ice cream lesson” with 365 Scoops. 365 Scoops was founded by Naomi Sugar (her real name) pursuing her passion of making home-made, organic ice cream.

The ingredientsI brought my friend Matt to the lesson. He has some culinary skills, unlike me who is somewhat domestically challenged. I was very nervous about messing things up. And guess what? Turns out there is a lot you can mess up…That said, we successfully made two ice creams with the expert guidance of Naomi!

Vanilla bean with caramel and chocolate covered waffle cone

Vanilla bean with caramel and chocolate covered waffle cone

Chocolate with chocolate peanut butter cup brownies

Chocolate with chocolate peanut butter cup brownies

The process was very intense.

We started by making the fixins. Brownies from scratch (undercooked for gooey-ness when it gets frozen), waffle cones that we painted with chocolate, and the most challenging part – the caramel.

Sugar to caramelFirst, the sugar gets heated up in a pot and eventually gets chunky and melts. The melting happens in a split second and then the race is on to add butter and cream before it burns. The temperature has to be just right to get the right consistency. (Something that can be easily messed up.)

CaramelThen we made the ice cream base by heating up half and half on the stove. For the chocolate base, we added the cocoa powder, chocolate chips, and unsweetened chocolate before the egg yolk and sugar mix. For the vanilla bean base, we added the egg yolk and sugar mixture before the vanilla bean paste and vanilla bean extract. During this process, known as tempering the eggs, we needed to make sure the eggs didn’t get too hot, becoming “temperamental” and turning into scrambled eggs. Not the kind of ice cream we would want to eat! Matt and I successfully made the bases without scrambling any eggs!

Matt Stopera making chocolate ice cream baseThen, we poured the bases into the ice cream makers and let them churn for about twenty minutes. We added the mixins after the bases were cold and voila! We made ice cream!

Chocolate ice cream churningAll in all, it was a great experience learning how simple yet how tricky it is to make ice cream. I would definitely recommend a lesson with 365 Scoops!

2 Comments

Filed under Food & Wine

Smith College MFA Dance Thesis Concert

Rebecca Hite MFA Smith 2012This past weekend, I visited Smith College in Northampton, Massachusetts to view Rebecca Hite’s Masters of Fine Arts in Dance Thesis. I was very impressed with her inventive and forward-thinking choreography. I have known Rebecca for a very long time and I have seen her grow as a dancer and choreographer at Connecticut College and now, after two years of further study, I can see a distinct artistic vision.

Rebecca’s pieces have all been somewhat twisted. They work the body in odd angles and strange shapes. In her latest piece, The Tale, she has harnessed this vocabulary of movement, telling a narrative tale of transformation. She opens with a man unknowingly reading a book on stage, acting as a narrator who eventually falls into the story himself.

When the story begins, we find Rebecca in a standing pose with her back to the audience, on a tuffet of grass downstage left. She’s wearing a cropped navy blazer and a mutilayered, multicolored tutu that is straight and long in the front and juts out straight-back in the rear. The shapes that the costumes make are askew and bold and also very danceable. The music and lighting were also spot on – illuminating the story and enhancing the dance without distracting.

The solo performed on the grass has the dynamics of stillness and repetition. Rebecca then disappears and four dancers cross the stage diagonally, very intently in a uniformed, march-like step that took an excruciating amount of time all the while keeping the audience in engaged suspense. Finally, they cross the entire stage, then appear at a party and drink an elixir which eventually transforms them into animals.

There is something a bit too obvious with the elixir in a red solo cup that cheapens the work. Yet the genius of the work reveals itself in the final moments when the animals start to eat and kill the narrator, crossing the boundary of story realm and dropping the audience in a new territory. The piece ends with this dark and twisted note. Outstanding.

All in all, emerging with this distinct choreography and finely crafting her vision, Rebecca is becoming an artist. She is honing her skills and exploring new genres while completing her masters. I look forward to seeing her development.

Leave a Comment

Filed under Art, Dance

Bob by SITI Company

Will Bond as Bob presented by SITI CompanyBob played by Will Bond presented by SITI Company at New York Live Arts is brilliant. The character of Robert Wilson is portrayed by bringing elements of his personal life and professional life together seamlessly for an inside look at the famed theater director.

It is as if Bond has inhabited Bob’s body, matching the long pauses, the high-pitched inflections, and the gestures. He executes the theatrically polished stories infusing bits of his theater and at times losing concentration and falling to stuttering. In true Bob fashion, the piece plays with the audience, asking them to question the motives of what he was saying. Could we genuinely hang on every word that Bob says when he tells a story about one day only saying, “Hmm” to see how far he could get?

The work also plays as a Robert Wilson work with its lighting, music, choreography, stillness and simplicity. The stage is set with a Wilson designed chair and table and a grid pattern on the floor. The lighting is bright, it is intense, it is dramatic. On the table is a gallon of milk which Bob drinks intermittently, adding a layer of tension to the already tense work.

And yet, with all the theatricality and storytelling, the work is more than just biographical – it speaks to the idea of theater. In one anecdote, Bob says that normal theater speeds up time and by the end the work itself has explained its meaning, which in essence leaves no time or space for contemplation. What is theater if it does not challenge one to think?

All in all, the theatricality, the emotion, and the psychology of the work engages the audience and encourages them to reflect on the life of one man, and his impact on theater.

Leave a Comment

Filed under Art, Theater

UNTITLED FEMINIST SHOW at Baryshnikov Arts Center

Young Jean Lee Untitled Feminist ShowI did not know what to expect from the UNTITLED FEMINIST SHOW but I knew that I was due to see something by Young Jean Lee. I was more than pleasantly surprised by the wildly entertaining performance.

The show started with six nude performers – of varying body-types – walking down the steps of the Baryshnikov Arts Center orchestra stairs in a very serious and modern dance-like nature. With the audience silenced by this, the performance continues from modern dance to a ballet narrative that involves an evil villain, a sidekick, and innocent dancers. Finally, when the villain is slain (who thrashes about with dramatic developés before dying), it becomes clear to the audience that this is not a performance that needs to be looked at with a serious lens. This is not a dry or didactic look at feminism; rather, it is a new presentation to be enjoyed and embraced.

From then on, the audience becomes boisterous, laughing at the mockery of performative and social norms being analyzed on stage. The blending of cabaret, burlesque, dance, and theater is smooth and genuine, making for an extremely unique show. The awareness of nudity gradually fades away exposing the audience directly to the art form. Not to make a direct comparison but UFS feels like Julie Atlas Muz’s conservative yet rebellious little sister’s show. It was smart and extremely well done without being alienating or over the top.

My favorite part occurred when one of the performers sang a nonsensical solo off key for five minutes – pretending to be belting out some show-stopping song without any awareness to her lack of talent. Hilarious. Also of note were the abstract projections above the dancers, which served to set the mood and I thought were to resemble female organs.

All in all, I enjoyed the work and the exciting ride that Young Jean Lee takes the audience on.

Leave a Comment

Filed under Art, Cabaret, Dance, Theater