By Alexis Soloski
By Lilly Lampe
By R. C. Baker
By Alexis Soloski
By Alexis Soloski
By R. C. Baker
By Melissa Anderson
By Alexis Soloski
Our leader may want to pull up the drawbridge and hurtle us back into the 19th century, but our arts presenters keep foraging abroad. This fall's dance offerings are notable for their breadth and global reach. Here we focus on international artists who'll grace our stages this fall. Dozens of gifted domestic troupes are scheduled as well; details about them run weekly on our Short List and in the dance listings.
At Danspace Project at St. Mark's Church (131 East 10th Street, 212-674-8194), the season opens with the U.S. debut of Compagnia Danza Francesca Selva, run by a former ballerina based in Siena, Italy. They'll perform Camminando-XYZ, a "dance meditation" in the ensemble's contemporary-infused neoclassical style (September 8 through 10). Other autumn highlights at the church include Gina Gibney Dance (October 13 through 16), Luis Lara Malvacias (October 20-23), the Movement Research Improv Festival (December 1 through 4), and two split bills: Joyce S. Lim and Paz Tanjuaquio (October 28-30) and Adriane Fang and Colleen Thomas (December 9 through 13).
Canadian choreographer Noémie Lafrance, who's worked magic in a Manhattan stairwell and a parking garage, brings 35 dancers and "special apparitions" to Williamsburg-Greenpoint's long-abandoned McCarren Park Pool (Lorimer Street between Driggs Avenue and Bayard Street, 718-302-5024) for Agora (September 13 through October 1). The piece has a multi-channel score by Brooks Williams, working with Norm Scott; Charlie Morrow provides a site-specific surround sound installation.
Michael Flatley, who created Riverdance and Lord of the Dance, touches down for the debut performance of his new Celtic Tiger, which "dramatizes the spirit of Ireland" (Madison Square Garden, September 27, 212-307-7171), before heading off on tour. English choreographer Christopher Wheeldon assembles a chamber group of dancers from the New York City and San Francisco ballets to perform three of his ballets to music by Hungarian composer Gy Ligeti, played live by FLUX Quartet and pianists Cameron Grant and Michael McGraw (Miller Theater, Broadway, at 116th Street, 212-854-7799, September 28 and 30 and October 1).
At P.S.122 (150 First Avenue, 212-477-5829), new director Vallejo Gantner launches the first roster assembled under his leadership. Israeli choreographer Saar Harari draws on both his dance and his military training for Herd of Bulls, in which four dancers physicalize the internal struggles of a peaceful soldier during conflict (October 19 through 23). The Norway in New York festival includes Ina Christel Johannessen's Zero Visibility Corp in . . . it's only a rehearsal, based on Ovid's story of Actaeon and Artemis (November 30 and December 1); the middle-aged ensemble Baktruppen, performing the subversive, funny Un-Do-Three (December 3 and 4); and the Iranian-born, Norwegian-educated Hooman Sharifi's autobiographical solo We Failed to Hold This Reality in Mind (December 10 and 11).
Local work on P.S.122's fall program includes Tamar Rogoff's Christina Olson: American Model, based on Andrew Wyeth's iconic woman and performed by Claire Danes (September 21 through October 2); another round of Terry Dean Bartlett and Katie Workum's "Danceoff!" (October 11 and 12) and Sally Silvers & Dancers' 25th anniversary season (November 16 through 20). Ken Nintzel's 'Twas the Night Before the Twelve Days of a Nutcracker Christmas Carol fuses holiday clichés into an "only in the East Village" seasonal spectacle (December 15 through 25).
BAM's Next Wave Festival (30 Lafayette Avenue, Brooklyn, 718-636-4100) spotlights a production from mainland China: the National Ballet of China in Raise the Red Lantern, choreographed by Xinpeng Wang and Wang Yuanyuan and directed by film director Zhang Yimou (October 11 through 15). Brazil's Grupo Corpo offers dances by Rodrigo Pederneiras; the company's style fuses modern, ballet, African, urban, and folkloric forms (October 25 and 27 through 29). Italy's Compagnia Aterballetto brings two Ballets Russes signature works to Stravinsky, Les Noces and Petrushka, reimagined by artistic director Mauro Bigonzetti (November 8 and 10 through 12). German choreographer Sasha Waltz returns to the Next Wave with Impromptus, inspired by and performed to piano pieces by Franz Schubert, which mixes American postmodernism with German expressionism for her multinational troupe (December 6 and 8 through 10).
At BAM's Harvey Theater(651 Fulton Street, Brooklyn), the ongoing Act French festival feeds the Next Wave Bright Abyss, a surreal nouveau cirque enterprise written and directed by James Thiérrée and performed by La Compagnie du Hanneton (November 9 through 13). In the intimate James and Martha Duffy Performance Space at the Mark Morris Studio (3 Lafayette Avenue, diagonally across the street from BAM), Israel's Batsheva Dance Company plays for two weeks in Mamootot, choreographed by the terrific Ohad Naharin (November 15 through 20 and 22 through 27); tickets to this are likely to be very scarce. The sole domestic dance event in the Next Wave is Wally Cardona's Everywhere, to music by Phil Kline performed by Ethel (at the Harvey, December 13, 15, and 17).
Cisne Negro: From Brazil to the Joyce
photo: Joyce Theater
At the Kitchen (512 West 19th Street, 212-255-5793, ext. 11), Japanese choreographer Kakuya Ohashi makes his U.S. debut in Wish You Were Here, sharing a program with Brooklyn-based Beth Gill (September 29 and 30). John Jasperse shows the trio Prone, to a new score by Zeena Parkins (December 2 and 3, 6 through 10, and 13 through 17).
Dance Theater Workshop (219 West 19th Street, 212-924-0077) offers 12 different programs including extranjeros Yoko Higashino and Hiroaki Umeda, young Japanese dance artists inspired by pop culture (October 6 through 8), and Pascal Rambert, whose Paris-based Side One Posthume Theater offers Paradis (unfolding time) for 10 naked dancers (December 7 through 10). Other events here: Bebe Miller Company's new, high-tech Landing Place; Seattle's Spectrum Dance Theater performing Donald Byrd's long-awaited examination of beauty, evil, gender, and social order called The Sleeping Beauty Notebook, set to Tchaikovsky (November 2 through 12); and Miguel Gutierrez and the Powerful People in two world premieres (November 30 through December 3).
The New Victory Theater (209 West 42nd Street, 212-239-6200, newvictory.org) leads off with Black Grace, the all-male New Zealand dance company of Maori and Pacific Islander descent that has wowed audiences at Jacob's Pillow, making its New York debut (September 16 through October 9).
And more. And more. Next week, Dancenow/NYC opens at five different Manhattan venues (September 7 through 17, 718-850-2488, dancenownyc.org). Dancing in the Streets has commissioned five choreographers (Ann Carlson, Eiko & Koma, Larry Keigwin, Tere O'Connor, and Jawole Willa Jo Zollar), under the direction of San Francisco's Joanna Haigood, to develop new, site-specific works to be performed September 17 at a site that remains a secret until September 12; call 212-625-3505 after that date for complete details, or visit dancinginthe streets.org. This year's Fall for Dance festival opens September 27 at City Center(131 West 55th Street, 212-581-1212); see full details here next week. And remember the fall perennials: World Music Institute's many offerings, mostly at Symphony Space (worldmusicinstitute.org); American Ballet Theatre's season of short works at City Center (October 19-November 6); New York City Ballet at the New York State Theater (Columbus Avenue at 63rd Street, 212-721-6500, November 22 through February 26), and the Alvin Ailey American Dance Theater, also at City Center, November 30 through January 1.