Susan Yung is based in the Hudson Valley and writes about dance and the arts.
JOHN MCDEVITT KING: In Pursuit of Alien PerfectionBy Susan Yung
Looking at the work of John McDevitt King, the word perfectionor some attempt to achieve itstubbornly recurs. In the graphite fields of shading that precisely describe volume and light, and yet retain the warmth of the human touch.
Gothic Spirit: Medieval Art from EuropeBy Susan Yung
Can medieval art find a niche in the contemporary art world? Gothic Spirit: Medieval Art from Europe organized by London dealer Sam Fogg and now on view at Luhring Augustine embraces this question.
Trisha Brown with Susan Yung
Trisha Brown Dance Company performs at the Joyce Theater Feb 5 10 in a program featuring I love my robots (2007), If you couldnt see me (1994), and Foray Forêt (1980). Susan Yung recently spoke with Trisha Brown in her Soho loft.
Doug Varone with Susan Yung
Doug Varone founded his New York-based company, Doug Varone and Dancers, in 1986. In addition to choreographing for his own company, which has toured the world, he has directed and choreographed opera, theater, and musical theater. Doug Varone and Dancers will perform at the Joyce Theater from February 24 through March 1.
TREE OF CODES
By Susan Yung
An Art/Sound Environment with Fleeting Bodies
On the brink of the end of paper, I was attracted to the idea of a book that cant forget it has a body, Jonathan Safran Foer said in a New York Times interview about his art book, Tree of Codes, the inspiration for the dance theater collaboration recently presented at the Park Avenue Armory. Foers book reduces and remakes Bruno Schulzs The Street of Crocodiles (Tree of Codes is a trimmed version of the title) by literally excising words, leaving gaps, and transforming the texts meaning.
By Susan Yung
The Group as Power Source
In this era of crowd-sourcing, a sharing economy, and a Socialist garnering widespread support as a presidential candidate, BalletCollective makes sense. This ballet troupe is not leaderlessTroy Schumacher is the director and choreographer, and Ellis Ludwig-Leone is composer and music director.
Ruffling FeathersBy Susan Yung
It takes a classic ballet with good bones, like Swan Lake, to withstand centuries of interpretations. Tchaikovsky’s timeless score is often the binding agent among variations, and the key dances by Petipa/Ivanovthe pas de deux, the quartetoften remain intact.
Miami City Ballet Brings the HeatBy Susan Yung
Miami City Ballet brings challenging repertory to the Koch Theater stage, a run that includes George Balanchine, Twyla Tharp, Alexei Ratmansky, Justin Peck, and Liam Scarlett, with accompaniment by the New York City Ballet Orchestra (helmed by Gary Sheldon).
Mark Morris Up CloseBy Susan Yung
The Mark Morris Dance Group presented two New York premieres as a part of its spring season. Alongside two older pieces, the repertoire showed the range of Morris’s smaller-scale concert performance choreography, encompassing rituals and formalism both ornate and more classical in nature.
Ratmanskys Quiet RevolutionBy Susan Yung
There’s a quiet revolution underway at ABTin its spring season, an impressive half of the repertory is by Alexei Ratmansky. The latest addition is The Golden Cockerel, a full-length spectacle originally created in 2012 for the Royal Danish Ballet, which loaned the lavish costumes and scenery by Richard Hudson (based on early 20th-century designs by Natalia Goncharova).
From the City of Light to the City of AngelsBy Susan Yung
Good news: the L.A. Dance Project (LADP) is back at full strength, with artistic director Benjamin Millepied able to refocus on the company now that he has left his post at the Paris Opera Ballet.
Ballet, EvolvingBy Susan Yung
It’s been a surprisingly good year for female ballet choreographers. It could be a side effect of the political climate, or simply numbers—that half the population just might be able to create noteworthy dances as well as the other half, given the chance. In any case, American Ballet Theatre (ABT) commissioned Jessica Lang to create Her Notes, which had its world premiere in the company’s brief fall Koch Theater season.
Suffusing Form with ActivismBy Susan Yung
Dance can be rewarding for its simple humanity and kineticism, particularly in the hands (and feet, and legs, and torsos) of accomplished companies like the Alvin Ailey American Dance Theater, which had its annual month-long run in December.
Justin Peck’s New LanguageBy Susan Yung
The rapid artistic evolution of Justin Peck continues to speed forward. His recent New York City Ballet (NYCB) premiere of The Times Are Racing may harken the pioneering sneaker dances of Jerome Robbins, which are playful, street-wise, and express the pleasures and angst of adolescence.
Whipped Cream, With a Cherry on TopBy Susan Yung
Classical ballet is in ascendance, and it’s growing more diverse. Nearly a decade ago the life of classical ballet was in question.
Timeless and Tamed: Lincoln Center Festival Koch Theater, July 2017By Susan Yung
George Balanchine’s Jewels (1967) is in the repertory of many of the world’s renowned ballet companies, and the 2017 Lincoln Center Festival presented the iconic work with three of the best troupes, each performing one section.
Fall for Dance—Tweaking the MenuBy Susan Yung
Fall for Dance has been evolving since its inception in 2004, for better or worse becoming a somewhat more serious affair and less of a dance rave.
Dance and Music Speak the Heart: Two GenerationsBy Susan Yung
When Mark Morris has the opportunity to choreograph on a large scale, he has historically created some monumental pieces—L’Allegro, il Penseroso ed il Moderato; Grand Duo; The Hard Nut; and Mozart Dances, to name a few.
Suspended AnimationBy Susan Yung
New York City Ballet, as an organization, currently exists in a state of suspended animation between the resignation artistic director Peter Martins—accused of emotional and physical abuse of the dancers and cleared by a perhaps less than impartial arbiter—and the appointment of a successor, for whom the search is underway.
Mark Morris’s Ascension in a Shrinking Summer Dancescape at Lincoln CenterBy Susan Yung
With this summer’s dearth of other large venue dance at Lincoln Center, and Morris’s consistency with Mozart festival appearances, suddenly the “enfant terrible” has assumed the role of grand poobah of summer dance at the cultural center.
NY Quadrille: Modern Dances, Fresh ViewsBy Susan Yung
ohn Jasperse kicked off the 2018 Quadrille, a series curated by Lar Lubovich in which a temporary square platform bridges the front of the regular Joyce stage and some front orchestra seats; viewers sit onstage on risers and in standard rear house seats.
The Tenant: A Dark Tale Told Through MovementBy Susan Yung
New narrative dance productions—as opposed to abstract or “pure dance”—exist in a kind of netherworld these days.
New Leadership, and Work, at New York City BalletBy Susan Yung
After many months under an interim leadership team of dancers who replaced the ousted Peter Martins, the company announced that Wendy Whelan, who retired from the company in 2014 after 30 years, will be associate artistic director, and ex-principal Jonathan Stafford—who had become the de facto leader—will be artistic director.
Ratmansky’s Imprint on ABTBy Susan Yung
ABT continues on its path to becoming Alexei Ratmanskys company.
Taylor Returns—But What Holds the Future?By Susan Yung
The current iteration of Paul Taylor Dance Company prominently displayed the change in personnel, seen recently in the bijoux box of the Mahaiwe Theater. Flash back to the companys last big season in fall 2019 at the Koch Theater, when the wholesale company turnover was already underway in the wake of Michael Trusnovecs summer farewell during the Bach Festival at Manhattan School of Music.
Puffballs, Storm Clouds, and GoodbyesBy Susan Yung
At the New York City Ballet Fall Fashion Gala, choreographers Sidra Bell and Andrea Miller produced very different works, each possessing moments of interest, but ultimately falling short on choreographic invention.
Jamar Roberts’s Balletic ForayBy Susan Yung
New York City Ballet placed Jamar Roberts’s premiere, Emanon In Two Movements, on a program with works by Pam Tanowitz and Kyle Abraham. The context signifies the prominence that Roberts’s choreography has assumed of late, sharing the marquee with two dance makers who are deservedly busy with external commissions and their own stellar companies.
Kilpatricks Imaginative Costumes, ActivatedBy Susan Yung
Hudson Hall, built in the 1850s as Hudsons first city hall, was designed to function as a Columbia County gathering place, with a post office, bank, lecture hall, and gallery. It continues to draw the public, albeit with performances in its splendid hall, recently renovated to incorporate modern amenities such as a/c and an elevator. With a flexible, gymnasium-like floor plus a raised proscenium stage, it hosts forward-looking events which eschew traditional models.
Giselle, Transcending CenturiesBy Susan Yung
Khans production picks snippets from Giselles original score, and adds all new choreography. Happily, the English National Ballets is a new version of a ballet that delivers emotional punch on par with the original.
Dance Your Fears AwayBy Susan Yung
LOVETRAIN2020 looked like a lot of fun to dance. Emanuel Gat choreographed the work to songs by 1980s British band Tears For Fears (Roland Orzabal and Curt Smith).
Taking Root, and Taking FlightBy Susan Yung
The eight dancers spend most of the hour-long work moving together in lockstep, or in small orbiting groups. When dancers break apart from the cluster, others rush to join them, or assist when another falters.
Episodes and AshBy Susan Yung
Rail Contributor Susan Yung examines two new performances from the New York City Ballet.
Alone, Yet InseparableBy Susan Yung
Engrossing, mysterious characters inhabit Beth Gills Nail Biter
Intimacy from a DistanceBy Susan Yung
Mark Mann captures the complexity of dancers in photos comprising the book Movement at the Still Point: An Ode to Dance
Ballet in New York: Brio & The BlahsBy Susan Yung
A recent diablog on Artsjournal.com centered on whether New York is the dance capital of the world. It raised as many questions as it answered, but it underscored what we jaded New Yorkers can take for grantedthe considerable wealth of all kinds of dance, from large companies to open class schools.
Michael Trusnovec with Susan Yung
Michael Trusnovec joined the Paul Taylor Dance Company in 1998, and won a 2006 Bessie Award for his body of work with the company. In the Paul Taylor Dance Companys March 2007 season at City Center, 32-year-old Trusnovec can be seen in 13 of 18 dances
Ohad Naharin with Susan Yung
Ohad Naharin, artistic director of Batsheva Dance Company based in Tel Aviv, was recently in residence at Cedar Lake Contemporary Ballets Chelsea studio teaching a training method he developed called gaga.
The Real TomatoBy Susan Yung
In this modern world, we conduct our lives through a surprising amount of mediation and simulacrum. We rely on computers for most basic informationtime, outside temperature, current headlines.
By Susan Yung
A Stark Documentary Transformed into Dance
Generating new movement ideas is difficult for choreographers, particularly when creating full-length dances. It’s so challenging that most of the big ballet companies continue to rely on narrative staples from centuries ago.
At Long Last TanowitzBy Susan Yung
Pam Tanowitz has been making compelling dances since 2002, and yet has been passed over until just recently for choice commissions. Now, we can finally stop wondering: why isnt Tanowitz asked to create work for major companies?
West Side Story: Ill-fated Passion Burns AnewBy Susan Yung
Robbins contributions and choreography in the original versions will forever be treasured, but De Keersmaeker has provided powerful, contemporary new dances that shine.
Modern Dance’s ModernsBy Susan Yung
Of modern dance’s pioneering choreographers, precious few are represented in extant companies.
NYCBs Fashion Gala Leaps ForwardBy Susan Yung
New York City Ballet (NYCB)’s recent tradition of holding a fall fashion gala has evolved from a somewhat crass leveraging of the influential world of haute couture into a fuller consideration of the conceptual possibilities of fashion as explored through dance. In the recent gala, this shift was brought into high relief by the juxtaposition of the season’s most interesting premiereUnframed, by Annabelle Lopez Ochoa, with costumes by Rosie Assoulinwith a section from Bal de Couture by Peter Martins, costumed by Valentino, from the first fashion gala in 2012.
By Susan Yung
Dance-Dramas and Icons
The annual three-week Paul Taylor American Modern Dance season is always an impressive physical and mental tour de force for the company. Perennial questions anticipate the run: what premieres will Taylor present and how will they fit into his oeuvre?
Passing the Torch: Michael Novak with Susan Yung
Modern dance choreographers have been planning for their legacies in various ways. Some have chosen to disband their companies; others have, at times with the help of their boards, chosen successors. Michael Novak, a distinguished dancer with Paul Taylor Dance Company since 2010, was recently named Artistic Director Designate of the Paul Taylor Dance Foundation. I sat down with him at the Foundation headquarters in lower Manhattan.
PAM TANOWITZ with Susan Yung
A lot of the time I start with a new phrase, movement, or idea, but Ill also bring along old material that feels interesting, that could be worked on more, or failed in another piece but I want to bring it forward, because part of the nature of a project-based company is that we dont have a repertory to rehearse. That always inspires me. Were not like Mark Morris Dance Group, working on a new piece in the morning, and rehearsing old pieces in the afternoon. What were working on is what were working on.
Bubbling Over with JoyBy Susan Yung
The all-Ratmansky program leading up to this premiere displayed ABT’s breadth, but also a conundrum—how to remain relevant while keeping the old classics fresh?
Carousel—Talent Transcends a Prickly BookBy Susan Yung
In Carousel, the stage is often crammed with props such as wooden pallets, lobster pots, and clambake detritus, leaving little space for the dancers. But Peck guides the action vertically by inserting jumps and spins; arms and legs make variegated shapes to add visual interest.
ABT Looks Forward and BackBy Susan Yung
American Ballet Theatre (ABT) took a gamble on commissioning tap choreographer Michelle Dorrance to create a pièce d’occasion for its 2018 Spring Gala. The wisdom of the choice became apparent in the first moment, when three women struck the floor, one-two-three, with their spotlit pointe shoe toes. How ingenious, and in retrospect natural, to use the toe shoe as a percussion instrument, rather than denying its proclivity to thump and clack with each step—something all ballerinas are trained to avoid. Dorrance allows ballerinas to embrace their physical selves, tethered to earth by gravity just like the rest of us. Her use of tap is not just percussion; it’s overturning a whole aesthetic and artistic dogma
Kyle Abraham’s Live! The Realest MCBy Susan Yung
In The Realest MC, the hot button topics of gender expression, assimilation, bullying, and appropriation simmer with the threat of boiling over every now and then. The takeaway is powerfulprovocative ideas that linger in the mind long after the show ends.
Darkness Manifest, Onstage and OffBy Susan Yung
The Joyce Theater remounted Molissa Fenleys landmark solo, State of Darkness to Stravinskys The Rite of Spring. Fenley and Joyce Executive Director, Linda Shelton, spoke with Susan Yung about the origins of the piece and staging the demanding choreography in the pandemic.
Two Cures for the DoldrumsBy Susan Yung
What July/October activity in New York takes you on a three-hour sojourn filled with twists and turns, heroes, villains, and colorful minor characters, leading to either triumph or heartbreak?
Grand, Pleasurable, and AccessibleBy Susan Yung
Mozart Dances (2006) is one of Mark Morris’s grandest and most pleasurable artistic achievements. This evening-length work in three sections elucidates the prominent themes in Mozart’s compositions with choreography that holds its own when paired with the music that has intimidated many choreographers.
Comfort, Humor, and GraceBy Susan Yung
Jane Comfort and Companys 40th Anniversary Retrospective demonstrated how the choreographers work engages with audiences, while proving its wide-range and resistance to definition.
Formal / NatureBy Susan Yung
Dorrance Dance, Mark Morris Dance Group, and ABT performed with and against nature at the Kaatsbaan Spring Festival.
Lincoln Kirstein's Multi-Platform Brand, DissectedBy Susan Yung
The contents of Lincoln Kirstein's Modern sprawls over a lifetime, with work reflecting Kirstein's myriad interests and varying levels of involvement with cultural institutions. Curators Jodi Hauptman (Senior Curator) and Samantha Friedman (Associate Curator, Department of Drawings and Prints) dissected Kirstein's career and laid out a panoply of artifacts as graphic evidence of his many obsessions.
Book Review: Reading Dance, Edited by Robert GottliebBy Susan Yung
With springs overdue arrival comes the promise of viewing things with fresh eyes.
Burning Up the HouseBy Susan Yung
David Byrnes American Utopia, on Broadway, is a jukebox musical, yes, but it upends the genre. Its at once brilliantly simple and subversively revolutionary, kind of like Byrne himself.
Faustin Linyekula—An IntensiveBy Susan Yung
Implied in Crossing the Line Festival’s title are several possible interpretations of the phrase—crossing borders, boundaries of the known, even perhaps going too far.
Book Review: Merce My Way, Photographs by Mikhail BaryshnikovBy Susan Yung
Mikhail Baryshnikov has become such a familiar presence in New Yorks cultural world that its easy to take him for granted.
SIDI LARBI CHERKAOUI with Susan YungBy Susan Yung
Belgian Sidi Larbi Cherkaoui has choreographed Orbo Novo for Cedar Lake Contemporary Ballet, to be performed at the Joyce Theater from Oct 20-25.