All in Reviews
William Forsythe’s “A Quiet Evening of Dance” pulls from his expansive body of work to play with the Balanchine adage of “seeing the music, hearing the dance,” which he brings to life even in melody’s absence. But at the Shed, Hudson Yards’ new “cultural center” committed to making art of established and emerging makers alike accessible to all, the “Evening” felt like a missed opportunity for expansion.
37 years since its debut, Anne Teresa De Keersmaeker’s “Fase” retains the immediacy of its early years, even without De Keersmaeker on the stage.
As part of Alvin Ailey’s week-long spring season, Rennie Harris’ “Lazarus” is performed alongside the company classic “Revelations,” creating a conversation about the current state of racial inequality, and the progress—or lack thereof—in the time since Mr. Ailey first posed these questions through dance.
Ballet BC’s (British Columbia) program at BAM celebrates Artistic Director Emily Molnar’s tenth year with the company with works by William Forsythe, Molnar herself, and Crystal Pike, cementing the link between the former on the latter.
New York City Ballet’s Spring Gala, with new works by Justin Peck and Pam Tanowitz (her NYCB début) alongside Balanchine’s “Tschaikovsky Suite No. 3,” was an evening of old, new, and unexpected, all of which have their place in the company’s repertoire.
For their second Works and Process show at the Guggenheim, Reid & Harriet reinforce the ability of costuming to heighten a piece. Costuming works by Christopher Williams and Netta Yerushalmy, they draw inspiration from the Ballets Russes, emphasizing the perennial importance of the designer to the process of creating a modern ballet.
