Vail Dance Festival in Review: International Evenings II

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Isabella Boylston in Flower Festival in Genzano, photo by Christopher Duggan

When international stars of ballet gather in the beautiful bubble of a town that is Vail, magic is bound to happen. The second night of Vail Dance Festival’s “International Evenings” certainly saw magical moments, with crowd-pleasing highlights feathered throughout.

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Catherine Hurlin and Lil Buck in Vail Dance Jam, photo by Christopher Duggan

This Festival wastes no time waiting to be festive; The show erupted with an epic opener, “Vail Dance Jam,” a collaboration between the dancers, musicians, and choreographers of the festival. The music was wonderfully rollicking, setting the tone for more fun to come.

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Melissa Toogood and Calvin Royal III in Trails, photo by Christopher Duggan

The first act continued with a series of pas de deuxs: first a very sweet Flower Festival in Genzano from American Ballet Theater (ABT)’s Isabella Boylston and Mikhailovsky Theatre’s Julian Mackay, followed by an other-worldly Merce Cunningham excerpt from Trails danced in beautiful sync despite the music’s irregular rhythm by ABT’s Calvin Royal III and Melissa Toogood, and finally La Sylphide, performed by Festival newcomer Maria Kochetkova and New York City Ballet (NYCB)’s Joseph Gorden. The August Bournonville style (showcased here in Flower Festival and La Sylphide) can be quite academic-looking, but the joining of these incredible artists has proved once again that Vail Dance Festival is a breeding ground for growth and exploration.

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Jacqueline Green in Pas de Duke, photo by Christopher Duggan

Alvin Ailey American Dance Theater’s Jacqueline Green wowed the crowd in another Ailey solo, this time to Duke Ellington’s vivacious music in an excerpt from Pas de Duke. She moved with crisp, clear confidence, hitting every step so full out it was as if she was making the music with her body.

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Alina Cojocaru and Herman Cornejo in Romeo & Juliet, photo by Christopher Duggan

The first half closed with a real stand out performance- English National Ballet’s Alina Cojocaru and ABT’s Herman Cornejo in the Balcony Pas de Deux from Romeo & Juliet. Wow. This had me on the edge of my seat, waiting on every effortless lift, exquisite pirouette, and nuanced breath. In this pairing, the audience received true artistic and technical expertise, a cosmic meeting of dancers and musicians that is rarely found. Cojocaru simply is the music; Her innate ability to make her audience hear every note in the score cannot be taught. What a treat.

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Festival Artists in The Personal Element, photo by Christopher Duggan

Act II opens with another peak; the world premiere of Alonzo King’s The Personal Element. This mesmerizing ensemble collected dancers from LINES Ballet and New York City Ballet in a whirlwind of sweeping movement, King’s choreography seamlessly sculpting the dancers into every formation imaginable. The dancers split into pairs and then join back together, zipping up into miniature tornados of movement and then melting back down into the music, a hypnotic score composed and played live by the incomparable Jason Moran.

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Lauren Lovette and James Whiteside in George Balanchine’s Duo Concertant, photo by Christopher Duggan

The evening continued with two more pas de deuxs, this time featuring this year’s Artist-in-Residence, Lauren Lovette, and ABT’s James Whiteside in George Balanchine’s playful Duo Concertant followed by the calm and refreshingly human The Still Point, danced by ABT’s Devon Teuscher and Cory Stearns. The latter offers the delicate study of a relationship, both passionate and comfortable, conflicting and familiar. The former celebrates yet another Festival partnering win, Lovette and Whiteside’s spritely energy and effortless musicality combining just perfectly in this seemingly made-for-them ballet.

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Lil Buck, Michelle Dorrance, James Whiteside, and Melissa Toogood in 1-2-3-4-5-6, photo by Christopher Duggan

A Festival favorite 1-2-3-4-5-6 closed the performance, jolting the amphitheater with a tangible energy only the dream team of Michelle Dorrance, Lil Buck, Melissa Toogood, and James Whiteside can serve up. This mixed-genre piece showcases the diverse talents of the artists, as they perform their own choreography and improvography while still maintaining a cohesive and all too fun to follow work of art.

For more information on the Vail Dance Festival.

Vail Dance Festival In Review: International Evenings I

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Isabella Boylston and Cory Stearns in “Manon” photo by Christopher Duggan

Community is the heartbeat of the Vail Dance Festival. The “International Evenings of Dance,” a mixed program spanning across two nights, features dancers and musicians from across the globe, culminating in an unmatched showcase of world-class dancing. Dancers gather from near and far, forging new partnerships and exploring different styles, all under the expert curation of Artistic Director Damian Woetzel. There is a comforting sense of familiarity between the dancers and the town. Each summer in Vail, Woetzel builds a family.

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James Whiteside and the dancers of Celebrate The Beat, photo by Christopher Duggan

What better way to begin the celebration than with a performance by the young dance students of Celebrate The Beat? The nationwide program offers students the highest quality in-school and after-school dance lessons, nurturing the innate tie between the human body and movement. Lead by American Ballet Theater (ABT) principal dancer, James Whiteside, the well-rehearsed performance brought an impressive 130 children to the stage in an energetic display with a simple message: The joy of dance is powerful.

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Catherine Hurlin in Don Quixote, photo by Christopher Duggan

From there, the evening took off with a bang, as ABT’s Catherine Hurlin and Mikhailovsky Ballet Company’s Julian Mackay took on the renowned Act III Pas de Deux from Don Quixote. Demanding technical proficiency and strong artistic flair, this pas de deux is no small feat, but Hurlin and Mackay display their excellent training with control and poise. They bring a youthful glow to these rather mature roles, taking risks that clearly excite the audience.

Next up, we received a preview of a larger work to come in Act II, Merce Cunningham’s Antic Meet. The short solo, featuring Pam Tanowitz Dance artist Melissa Toogood, was interesting, if not a bit anticlimactic. Toogood traversed the stage in an organized rhythm of small steps, holding a black umbrella overhead. The larger ensemble piece, danced by artists from various companies including New York City Ballet (NYCB) and ABT, offered more of this distinct Cunningham style. The live music, provided by festival resident artists Brooklyn Rider, was composed in a slightly unsettling disjointed style. The choreography mirrors this, with black unitard-clad dancers darting from one end of the stage to the next, injecting comedic elements throughout.

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Isabella Boylston and Cory Stearns in “Manon” photo by Christopher Duggan

A highlight of the evening, ABT’s Isabella Boylston and Cory Stearns twist and turn through the pas de deux from Manon, in their dreamy performance of the Kennth MacMillan classic. This pas de deux is celebrated for its romance, and these two dancers certainly delivered. Boylston’s impeccable lines and Stearns’ sturdy presence only enhanced what was clearly first and foremost a display of artistic expression. Their partnership was pure joy, exuding every aspect of young love, from tender sensuality to coquettish play. Sweeping, swirling, stunning.

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Unity Phelan and Calvin Royal III in George Balanchine’s “Apollo” photo by Christopher Duggan

A favorite festival partnership, NYCB soloist Unity Phelan and ABT soloist Calvin Royal III, took the stage next with George Balanchine’s Apollo. One of the most famous ballets of all time, Apollo is full of iconic moments, its sculptural elements lending themselves perfectly to these two statuesque dancers. Phelan and Royal have clearly gleaned wisdom and poise from Artistic Director Damien Woetzel since their partnership at the festival began just several years ago with another Stravinsky/Balanchine pas de deux, Agon. There is an obvious comfort between the two; Despite differences in their training styles, they emerge with exactingly clean, synced lines. Phelan’s portrayal of the muse Terpsichore is both light and firm as she approaches Apollo with a remarkably earnest will. Royal’s debut Apollo is equally balanced, displaying a quiet power perfectly suited to the role. Of course, their pas de deux is elegant and quintessentially Balanchine, ballet and story-telling stripped down to the bare essentials.

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Lauren Lovette and Joseph Gorden in “Giselle” photo by Christopher Duggan

Act I continues with this year’s festival Artist-in-Residence, NYCB principal dancer Lauren Lovette, partnered by NYCB soloist Joseph Gorden, in the Act II pas de deux from Giselle. This was nothing short of exquisite. Lovette seemed to float across the stage with her never-ending port de bras, hauntingly weightless as Gorden sweeps her up and away. This pas de deux is an example of what makes this festival so special; The spotlighting of incredible lyricism from a dancer who typically performs an entirely different style of ballet. Lovette has gorgeously danced everything from Balanchine’s spritely Tarantella to young princess Aurora in Sleeping Beauty, but as Giselle, she will take your breath away.

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Lil Buck and Michelle Dorrance, photo by Christopher Duggan

Festival veterans Jookin dancer Lil Buck and tapper Michelle Dorrance closed Act I in a collaboration with pianist Jason Moran, jolting the audience with an infusion of fun we did not know we needed. Lil Buck and Dorrance wove together a mixed genre work, with subtle nods to everything from the Charleston to the moonwalk. The piece felt like a conversation between all three artists, light-hearted and high energy, a breath of fresh air and a boost of serotonin.

A welcome addition to the festival, world renowned English National Ballet principal Alina Cojokaru joined ABT’s Herman Cornejo in Frederick Ashton’s Rhapsody to open Act II. The pair performed with near technical perfection, but alas, the choreography left a bit to be desired. The grandiose score by Rochmaninoff begs for a series of climaxes, while Ashton’s choreography remains slightly underwhelming. Despite this, the dancing was immaculate, and the chemistry between the dancers was a real treat.

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Maria Kochetkova in Degunino, photo by Christopher Duggan

Another festival debut dancer, international ballerina Maria Kochetkova commanded in a made-for-her solo, Degunino by Marcos Morau. Outside the amphitheater the stars shone brightly over Vail, and the audience fell silent. This was the quietest the crowd has been then entire night, and with good reason; Kochetkova’s character was a curious combination of insect and alien, causing us all to collectively ponder the existence of this creature. Her odd, sharp movements were framed by an impressive exhibition of her extreme flexibility, without ever becoming over the top. I was still contemplating this piece as I fell asleep last night- the sign of a truly extraordinary performance.

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Jacqueline Green in “Cry” photo by Christopher Duggan

Alvin Ailey’s Jacqueline Green performed Cry, a boisterous Ailey solo. The piece erupted with pure fun and joy, as Green’s extension and strength wove the dramatic costume into the movements with ease. The piece suited Green well, her freedom of movement allowing energy to flow out from every fingertip, matching the upbeat music.

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Roman Mejia in “Fandango” photo by Christopher Duggan

The finale of the evening proved they really do save the best for last- NYCB corps de ballet dancer Roman Mejia took on a solo by Alexei Ratmansky, originally created at the festival for Wendy Whelan in 2010 and later danced by NYCB principal Sara Mearns. The Spanish-style solo featured live music onstage by guitarist Alberta Khoury, Brooklyn Rider, and percussionist Dario Natarelli. At just 19 years old, Mejia’s interpretation of Fandango made me question the fact that this solo was not, in fact, made for him, as he breezed charismatically from one impossible jump to the next. Especially remarkable was Mejia’s articulation in the hands, each finger separately defined yet flowing into a fluid, intentional expression. Mejia is certainly a force to be reckoned with, and a gift to the Vail Dance Festival family.

For more information and tickets to the festival.

the silhouette inside

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she whispered many magic things
to the silhouette inside
dangers of the outside world
like love and lust and pride

she warned her of confusing things
what might happen when we die?
and the strangely ever humbling fact
that elephants can cry

she shared with her the nice things, too
butterflies that flutter by
birds and bees and heeled Hermes
winged creatures who can fly

one lucky golden afternoon
the sun brought her silhouette outside
so they promised honest reverie
seeing eye to outlined-eye.

armor amour

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beetle in the bell jar
will you ever be free?
climbing glass walls with glassy eyes
an invisible sight to see

tell me what life was like
before it trapped you here
I’ll sit and blink and think a while
here, please take my ear

why not my cheeks and nose, too?
they could serve you well
see the world through my face for a day
and I’ll put on your shell

it’s dark and hollow in this place
you must not let much light in
through your shiny armor or
under your upturned chin

from the inside now I see
all the beauty that you guard
dewy mornings in the early sun
children playing in the yard

muddy fingers tracing wings
afternoons spent foraging
a soft heat melting gooey air
on which the summer birds sing

I see why you hide now
keeping safe in your deep shell
all the memories you’re missing here
living in a frail glass bell.

nostalgia

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Funny, isn’t it? How a place can hold so much meaning in our minds? A smell can make us cry, a crack in the sidewalk can take us back in time. A certain rock shaped like a chair, or a ferris wheel that spins too fast. All brush strokes in this dizzying abstract we paint over the course of our lives.

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Sometimes an entire town can wrap itself around us, weaving in and out of our pasts with a whole myriad of “times.” Good ones, bad ones, insignificant tiffs, overwhelming laughs. The little spot on the rocks where you told someone a big secret, the rocking chair where you said your first goodbye. Even as you watch the waves approach and retreat, though you know they are disappearing, it’s tempting to hang on to their imaginary immortality. Nostalgia likes to perceive perpetuality, even in the bold face of nature, as you stand in awe of her constant change.

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It’s an indulgent pursuit, to seek sources of nostalgia. Despite this awareness of our intentions, nostalgia’s captivating ruse can pull us in. The remarkable ability to find familiarity in something actually quite foreign; to chase a time long past. The human mind plays all kinds of pretty tricks, if you are willing to let go and let her.

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saltwater nymph

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circe can’t go home
oceanid with holographic hair
her formation is terrestrial
every cell hails de la mer

saltwater nymph
imprisoned in her own shell
destined to sway the unwilling
to hold them in her hell

historically avoided
her plea silent like the sea
to be requited is to be understood;
to be understood is to be free

tormented temptress
neither goddess nor goodness, she waits
for the creature who will create her
the only one who holds two fates

circe can’t stay home
her liquid lips must rise
to meet her lightning lover
in the heavy-handed skies

-rainy days in providence inspiring greek mythology poems

u know who u r

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I’ve been watching you
For some time
Can’t stop staring
At those oceans eyes
Burning cities
And napalm skies
Fifteen flares inside those ocean eyes
Your ocean eyes

No fair
You really know how to make me cry
When you gimme those ocean eyes
I’m scared
I’ve never fallen from quite this high
Falling into your ocean eyes
Those ocean eyes

I’ve been walking through
A world gone blind
Can’t stop thinking of your diamond mind
Careful creature
Made friends with time
He left her lonely with a diamond mind
And those ocean eyes

-Billie Eilish, Ocean Eyes

a carousel of rays
your tide, a golden sting
ocean eyes are melting me
lips that silently sing

pressed to my chest
your rolling glow burns straight
there’s a new wrinkle to your spoke
unspoken words whirling without weight

bodies crushed
faces flushed
our dance so dangerous
a tango you can touch

sunny circles can’t keep up
with your warm, spiraling bake
you’re spotlighting my summer skin
in your precious golden wake.