In its nearly twenty year lifespan, Ballet NY has managed to create a truly spectacular experience for dance-goers, choreographers, designers and its crème de la crop dancers. The whole spirit of Ballet NY is one of inspiration, innovation and artistic risk -- which is probably why even when the choreography is quite classical there always seems to be one body part rebelling from the traditional. This rebellious energy keeps their work fresh, exciting and completely invigorating.
Ballet NY’s most recent performances, July 9-11th at the Ailey Citigroup Theatre, brought works from true icons in the dance world, John Butler, William Forsythe, Stanton Welch and Ballet NY co-Artistic Director, Medhi Bahiri. The evening began with Butler’s Othello, which had all the outer trappings of a classical ballet piece but the heart of a Graham-esque tiger. Butler’s choice of a quick, highly elevated, death grip-like partnered pas de chat to symbolize Desdemona’s murder is perhaps one of the most elegant killings ever staged. Setting the shifting mood brilliantly, expert light designer David Grill must be applauded. Grill uses lights in the way a painter uses shading, bringing in shadows when the danger is high and bright white light when the character’s inner landscapes grow chilly and vulnerable.
In Medhi Bahiri’s What Ever, dance theatre storytelling gives way to a more geometrical approach to partnering. Dancers Xiaoxiao Cao and Jesse Campbell as two physical human bodies create an interesting and incredibly attractive picture. When they move together, it is as if one body has two centers of gravity, perfectly balanced at all times. The choreography was exciting, angular and often quite cylindrical, bringing a deep sense of visual satisfaction.
William Forsythe's Slingerland Duet feels like being inside the circulatory system of an athlete or a madman as his pulse races to a manic speed and then gently calms as he breathes deeply. Music by the accomplished contemporary composer, Gavin Bryars, provides the exciting tempo, which keeps the dancers and audience on their metaphorical feet. Forsythe dances give the impression of hearing a language for the first time: foreign, fascinating and deeply expressive.
The final piece, Orange by Stanton Welch, is a fun and often humorous romp with colors, chakras and dangly bobble-heads that cheekily begs the question: why aren’t there more dangly bobble-head movement in ballet? (Joking, dancers.) Not only is the choreography full of happy moments such as random little kisses and flamenco-like skirt play but the entire visual experience is completely divine and colorfully decadent. Holly Hynes and Stanton Welch designed the most deliciously sweet costumes, while David Grill’s ever-rich palate of lights boldly stains the stage’s landscape against the bright orange costumes with his irresistible play with color theory.
To learn more about Ballet NY, read our interview with artistic directors Medhi Bahiri and Judith Fugate here.
