Top related persons:
Top related locs:
Top related orgs:

Search resuls for: "New York City Center"


7 mentions found


And on Thursday, Garland showed that he was getting some things right: Dance Theater, now in its 55th season, has a vintage kind of glow. The company, along with its dancers, seems to be more sure of itself: It’s growing into a sense of style. Honoring Mitchell was a reminder of why Dance Theater, born after the assassination of the Rev. Along with showcasing the transformative power of ballet, Garland writes in the program, Mitchell used Dance Theater as a means for social justice in part by way of its repertoire: George Balanchine ballets were performed alongside works by Black choreographers like Geoffrey Holder. 2,” which braids social dance with classical ballet.
Persons: Robert Garland, “ Arthur Mitchell, , Robert, , — Mitchell, Garland, Mitchell, Martin Luther King Jr, George Balanchine, Black, Geoffrey Holder, curation, , , Marius Petipa Organizations: New York City Center, Dance Theater of Harlem, Locations: New
“I was like 35 years old, and I was in Poughkeepsie,” Shanley said in a phone interview during a rehearsal break last month. “I went in to do my laundry, and after a couple of questions, I realized that they would do it for me, fold it and give it back to me. Opening on Wednesday at New York City Center, it is the 13th play the playwright has premiered with the Manhattan Theater Club. “There’s an incredible flair, intelligence, grace and humor to his work,” said Lynne Meadow, the theater company’s artistic director. Most of all, she added, “he writes with such humanity, and so personally.”
Persons: John Patrick Shanley, “ Danny, , ” Shanley, , , Lynne Meadow Organizations: New York City Center, Manhattan Theater Locations: Poughkeepsie, Brooklyn
It’s not often that the standout star of a show is its music supervisor, arranger or orchestrator, but in the gala presentation of “Pal Joey” at New York City Center through Sunday, all three are one man, Daryl Waters. That the rest of the revival (really a new creature, made from spare parts) is more suggestive than convincing is no crime; there has never been a satisfactory “Pal Joey.” Though the 1940 original featured some soon-to-be standards by Rodgers and Hart — “Bewitched, Bothered and Bewildered” chief among them — its book by John O’Hara, based on his epistolary novel and New Yorker stories, didn’t match them in tone or dramatic serviceability. Back then, the problem was thought to be the nature of Joey himself, a greasy heel trying to scheme his way from itinerant crooner to supper club smoothie. Along the way he picked up and discarded an innocent named Linda English, traded sex for financial support with a socialite named Vera Simpson and generally ruined everything he touched with his grifty hands. The problem faced by the various would-be saviors of “Pal Joey” — there were Broadway revivals in 1952, 1963, 1976 and 2008 — is rather what new throughline to impose and how to make the best use of its songs.
Persons: It’s, “ Pal Joey ”, Daryl Waters, Waters, , , Pal Joey, Rodgers, Hart —, John O’Hara, Joey himself, Linda English, Vera Simpson, Brooks Atkinson, J, Pierrepont Finch, Sweeney Todd, Evan Hansen, “ Pal Joey ” — Organizations: New York City Center, , New York Times Locations: New, ’ Da, York , New York
That’s the idea behind the mother-daughter tour of Florence in “The Light in the Piazza,” the 2005 musical romance composed by Adam Guettel and written by Craig Lucas. revival directed by Chay Yew opened on Wednesday, a sensational performance by Ruthie Ann Miles delivers a feeling close to the sublime. She honeymooned in Italy; now it’s the summer of 1953, and her marital flame is dimming just as her daughter, Clara (Anna Zavelson), first discovers desire. That Margaret and Clara are Asian American adds a further layer of shading to their outsiderness abroad. (“I’m as different here as different can be,” Clara sings.)
Persons: Adam Guettel, Craig Lucas, Chay Yew, Ruthie Ann Miles, Miles, “ Sweeney Todd, , Margaret, Clara, Anna Zavelson, Miles imbues, ” Clara, it’s, Fabrizio, James D, Gish Organizations: New York City Center, Broadway Locations: Florence, , Italy, American
New York will get a new dance festival this fall: Van Cleef & Arpels, the French luxury jeweler, announced on Tuesday that it would sponsor a 16-day event partly aimed at bringing more international choreographers and ensembles to the city. The festival, Dance Reflections, will feature groups like LA(HORDE), a French collective that will perform a work set to electronic music with the Ballet National de Marseille. The festival will open with an American classic: “Dance,” a 1979 collaboration between the postmodern choreographer Lucinda Childs and the composer Philip Glass, performed by the Lyon Opera Ballet on Oct. 19 at New York City Center. “We want to combine together very different approaches and to promote the diversity and richness of dance,” Serge Laurent, director of dance and culture programs for Van Cleef & Arpels, said in an interview. “It’s important for the development of artists and audience to be exposed to different approaches, and to have another view of the international scene.”The lineup also includes work by the experimental choreographer Gisèle Vienne and U.S. premieres by Rachid Ouramdane, who directs the Chaillot-Théâtre National de la Danse in Paris; the contemporary choreographer Dimitri Chamblas, in a collaboration with Kim Gordon; the Polish-born choreographer Ola Maciejewska; and the British-Rwandan artist Dorothée Munyaneza.
Persons: Van Cleef, Lucinda Childs, Philip Glass, ” Serge Laurent, , Gisèle Vienne, Rachid Ouramdane, Dimitri Chamblas, Kim Gordon, Ola Maciejewska, Dorothée Munyaneza Organizations: Ballet, de Marseille, Lyon Opera Ballet, New York City Center, Danse, British Locations: York, French, Paris, Polish, Rwandan
Exploring the Majesty and Mystery of Sor Juana in Dance
  + stars: | 2023-05-26 | by ( Marina Harss | ) www.nytimes.com   time to read: +1 min
She bends her back deeply and twists on the floor as the people around her watch, curious but withdrawn. As couples pass by, the dancer leaps and rolls, flying and landing heavily, looking side to side as if seeking refuge. Sor Juana’s life is the subject of a new work by the choreographer Michelle Manzanales that premieres on June 1, during Ballet Hispánico’s season at the New York City Center. Sor Juana, born out of wedlock into a deeply patriarchal society, chose the convent over marriage and domesticity. She is intriguing not only because of her extraordinary achievement but because not much is known about her beyond the few clues she left in her writing.
‘Oliver!’ Returns, With Darker Twists Intact
  + stars: | 2023-05-01 | by ( Sarah Bahr | ) www.nytimes.com   time to read: +1 min
It was 10 a.m. on a recent morning in a rehearsal room at New York City Center, and nine boys scurried around the space, clutching parasols of red and white lace, tin cups and jaunty pocket squares. “OK, everyone!” said Lorin Latarro, the choreographer of the show, a new staging of “Oliver!,” the Lionel Bart musical opening at City Center on Wednesday for a two-week run as part of the Encores! “Would you risk the ‘drop’?” he sang, his eyes bugging as he grabbed his scarf and mimed a noose tightening around his neck. (Translation: Are you willing to go out and commit robbery and possibly face the gallows if you’re caught?) All nine pickpockets in training nodded enthusiastically.
Total: 7