Interludes

VIEWPOINTS – Dance Roundup: FALL FOR DANCE ignites City Center for its 20th iteration and BALLETX returns to The Joyce

• By drediman
• October 4, 2023
• No Comments

Dance in New York is in full swing. Aside from New York City Ballet’s ongoing 75th anniversary season, I’ve also been taking in some of the city’s other dance offerings. Here my thoughts, as always.

FALL FOR DANCE
New York City Center
Through October 8

This autumn, New York City Center celelebrates the landmark 20th iteration of its popular Fall for Dance Festival (RECOMMENDED), which over the years has played an increasingly central role in the city’s dance programming. Since its inception, the democratically-priced festival (all tickets are only $20) has thrived on the eclecticism of its offerings and the enthusiasm of its audiences, traits which are still intrinsically part its DNA, at least as evidenced by the first two programs. Indeed, from smartly curated examples of sharply drawn contemporary dance (Crystal Pite’s The Statement and Guillaume Côté’s X (Dix), danced respectively by Ballet BC and Côté Danse), to hybrid forms of choreographic expression (Sergio Bernal’s flamingo/ballet concoction and Caleb Teicher’s playful tap interpretation of Rhapsody in Blue, both performed to crowd-pleasing effect), the diversity on display continues to impress. But perhaps best of all is the opportunity to see established dancers explore other facets of their talent — this festival’s prime example thus far being the chance to experience intrepid New York City Ballet principal dancer Sara Mearns reach eloquently inward in Mass, a somber, affectingly performed piece set by choreographer Bobbi Jone Smith to a short composition by composer Caroline Shaw (sung ravishingly by baritone Davóne Tines).  Although some programs have been necessarily stronger than others, so be it. Collectively, Fall for Dance gives fans and newbies alike the unique opportunity to scan the current state of dance.

BALLETX
The Joyce Theater
Through October 1

Aside from the opening of Fall for Dance at City Center, last week also saw the return of BalletX (RECOMMENDED) to The Joyce Theater in Chelsea, where Matthew Neenan’s Philadelphia-based dance company performed a rich evening of contemporary dance. The evening commenced with Neenan’s own Credo, a 2016 piece marked by striking tableaus and thematic choreographic vocabulary, imbuing the dance with an altogether distinctive and evocative look (it was also a joy to hear, as set to Kevin Puts gorgeous chamber score, played live with great care by Ensemble132). Garbed in flowing costumes, the dancers performed with effortless ease and unaffected demeanor, which allowed the piece to emerge with organic grace. Then came the New York premiere of Honey, Jamar Roberts’ new work set to various arrangements (courtesy of Don Shirley). Both soulful and raw, the piece is an intimate and unflinching look at romantic relationships on the rocks. Performed with unfiltered sensitivity, Roberts’ ballet ultimately proved to be a heartbreaking affair. After a brief intermission, the bill concluded with Exalt, a somewhat generic work from 2022 choreographed by Jennifer Archibald, perhaps the weak link of an otherwise robust evening. Overall, the dancers were in excellent shape — showing impressive comfort in various modes of dancing — although some were noticeably on somewhat more stable footing than others.