Category Archives: Reivews

Vail Dance Festival in Review: International Evenings II

by
48455292877_1fda515611_o

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.

48455293387_d3af1ed8db_o

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.

48455292652_346c73ed74_o

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.

48455292237_6ea5296387_o

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.

48455135961_ebaa58bfcf_o

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.

48455291722_29723f0ac1_o

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.

48455135151_3e38b8d38f_o

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.

48455291002_d41aa704e9_o

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

by
48449797162_79c6ebb97a_o

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.

48449799172_a0df4fc281_o

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.

48449642256_f8f3008c1d_o

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.

48449798747_9c1261c2d2_o.jpg

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.

48449643771_42106fa961_o.jpg

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.

48449797057_e9cd389eb9_o

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.

48449643246_c5ef554e78_o

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.

48449797917_d95062633c_o.jpg

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.

48449642646_c160c1a3b3_o.jpg

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.

48449642446_36c0058c00_o.jpg

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.

hot town, summer in the city

by

Processed with VSCO with a6 preset

It’s been a whole month (!) since Swan Lake. Several days after the final performance, The Great Flu of ’19 knocked me down for 2 weeks and well, you could say I ran out of steam. My annual lofty goals to “keep dancing all summer” fizzled under piles of tissues, and needless to say, I’ve been looking for motivation to get back into the studio ever since. Well guys, I think I might have just found it…

Processed with VSCO with a6 preset

We know the magic of Zarely’s super soft tights (I love the recovery compression tights for going out after a performance when my legs need a little love!) and elevated activewear, but did you know they recently released two leotards? Well, listen up. I’m out here shouting it from the rooftops.

Processed with VSCO with a6 preset

Have I peaked your curiosity? Okay, the review…

In keeping with Zarely’s design style, the Alicia leotard is cut to flatter. I was worried about her higher neckline, but the material (made in Italy) hugs so nicely. The lining is soft but effective- trust a busty ballerina to give you an honest assessment when it comes to support that doesn’t strangle you.

Processed with VSCO with a6 preset
Processed with VSCO with a6 preset

The base fabric is  thick enough to smooth things out without puffing up, but I think my favorite feature is the mesh panel…

IMG_0524.JPG

Processed with VSCO with a6 preset

The designers at Zarely pay special attention to lines when creating each piece, and woah baby, it pays off. I’m not typically one for wearing mesh on the front of my torso, but this leotard dips a toe into the trend without being over the top. I’m a fan.

Processed with VSCO with a6 preset

So, what do you think?! If you’re interested in trying out one of Zarely‘s new leo’s (or any of their well-made dancewear) and want a little discount, use code KIRSTENZARELY for 20% off at checkout.

E7DE6B18-9F12-4CB6-9729-8EB113F656DF.JPG

photos by Jenay Evans for STB.

slide

by

IMG_1856-1

The life of a twenty-first century ballerina often means jumping from one persona to the next, out of pointe shoes and into socks, tattered technique shoes, bare feet and bruises. For three hours we are bunheaded and floating, while the next three have us rolling through the floor, hair and hips flying loose and low.

IMG_1857-1

Of course, this can wreak havoc on the structure of the ever-important feet and ankles, dramatic shifts in positioning and pressure causing all kinds of inflammation, irritation, and injury. Our February program jumps from balletic Serenade to apocalyptic Smoke & Mirrors and creature-like Coma, and all I can say is THANK YOU, SHOCKS.

IMG_1858-1

With compression in the arch and ankle, the Performance Shocks from Apolla are saving my feet. They hug just the right areas to provide support and protection, while still allowing the toes to shape and the heel to ground into the floor.

IMG_1860-1

Before a long day in pointe shoes, (my feet and) I love taking barre in my Apolla’s. They give me the perfect lift without being restricting or bulky. Ah, can a person truly love a pair of socks, you ask? I’ve rambled on and on about all of their many benefits, but for now let’s check out some close up glam shots and find out how well they really perform…

IMG_1861-1IMG_1862-1IMG_1865-1

Oooooh, aaahhhhh. Who knew a pair of socks could make me feel some kinda way? If you’re looking for a date this Valentine’s Day, might I recommend a fresh pair of Performance Shocks? Just kidding…kind of.

In you’re interested, Apolla is offering a discount to STB readers! Use the code SETTING*THE*BARRE19 for 10% off at checkout.

All photos by Jenay Evans for STB.

that’s a wrap

by

IMG_4154

It’s the most wonderful time of the year! Two weeks from today marks opening night of Nutcracker and the first official day of winter. But dancers know Nutcracker season is already in full swing, and New Englanders (or other cold-weather-dwellers) know winter has indeed arrived.

Early sunsets and extended studio hours make for chilly ballerinas. Luckily, my absolute favorite dancewear brand, RubiaWear, has us covered. Literally. Hehe.

IMG_4173.JPG

I firmly believe everything Ashley Ellis touches turns to gold. The RubiaWear creator and Boston Ballet principal dancer has been growing her collection of ultra-soft and flattering warm ups (which began as a range of legwarmers), and I am all about it. I’ve waxed poetic on the perfection of Rubia legwarmers in the past, but have I introduced you to the Cora wrap?

IMG_4152

Made from the softest fabric in a rainbow of color options, the Cora is cut to the perfect long-enough-to-warm-you-up but short-enough-to-keep-things-light way that Ashley’s designs seem to nail every time. The cozy wrap multitasks as much as its maker, lending itself to a whole gamut of various functions. While I tend to wear it doubled up around my hips, I’ve also been known to circle it around my neck when my shoulders feel stiff, or blanket it over my knees backstage.

Versatility, coziness, and a ballerina-run business. Win, win, win, as they say.

Curious about Cora? Check out my chat with Ashley here and browse the full RubiaWear line here.

perform and protect

by

IMG_1927

Every year around the first week of November, my calendar fills up with acupuncture appointments and ice baths. My heating pad fires up multiple times a day, I sit down whenever possible, and when standing is a necessity, I consciously shift weight back and forth between my two legs to avoid (or let’s be honest, delay) the eminent burn out of my left calf muscle. That’s right, Nutcracker Season is upon us and my left leg is feeeeeeling it.

IMG_1928

If you have danced any variation of the “traditional” Petipa version of Grand Pas (affectionately referred to as Grandpa), you know what I mean. Each and every section of the 15 minute pas de deux- from adagio to coda- seems to depend heavily on the strength of the left leg. It’s the supporting leg in every pirouette, promenade, and balance and by the last cymbal crash, that baby is screaming.

IMG_1926

Swooping in to give my left calf any chance of survival this season, my favorite compression-tech dancewear brand, Apolla, sent over one of their newest products to save the day. The K-warmer (short for Kinesio) is made with a tight-knit to provide targeted compression to sore leg muscles. The special weave encourages circulation, which reduces inflammation and lowers the risk of injury. It’s sort of like having a personal physical therapist following your sore legs around, wrapping tape where you need support and applying pressure where you need blood flow.

IMG_1932

I love that the K-warmer provides support while still allowing my body to perform at its full range of motion. The warmers (which come in a set) can be extended for full leg coverage, but I like to double up on the squeeze-factor by folding one down around my calf for an extra warm hug. On particularly long days, I keep my K-warmers on when I leave the studio, so they can keep working their magic while my body transitions into rest mode. Performance and protection, double whammy! They are also antimicrobial (aka not stinky), sleek fitting (hello tutu time), and dancer approved.

IMG_1930

I really do swear by all of Apolla’s products and wear them daily. You guys know, I only work with brands that I genuinely love and think you will, too! If you want to get your hands on/legs in a pair of K-warmers, use code STB-ApollaDiscount-4 for 10% off at checkout.

PS- this is not an affiliate code- I don’t make any money from this, just want to spread the love and help you survive Nutcracker Season! Code is valid through November 22, 2018. xx

CLOSING EVENING: BALLET X

by
_mg_4543balletx_35736589503_o

Damian Woetzel, Artistic Director of Vail Dance Festival, photo by Erin Baiano.

On the last day of the Vail Dance Festival, I decide it’s high time I did a little dancing myself. Ballet X Artistic Director, Christine Cox, graciously welcomes me into the company class at the amphitheater. It’s been…a while since I’ve taken classes regularly (#summerslacking), but Christine’s class is exactly what I need. When Justin Beiber’s “Sorry” comes on for frappés- I know for sure I am in the right place.

Cox emphasizes the importance of dancing as a conversation with your body. The impetus on freedom of movement feels liberating compared to the strict ballet classes I am used to. Not only is taking class with Ballet X refreshing for my body, but it also makes me even more excited for their performance that evening. Closing the Vail Dance Festival is an ambitious task, but this Philadelphia-based contemporary ballet company delivers.

_mg_4926balletx_35736587983_o

Chloe Perkes and Zachary Kapeluck in Jodie Gates’ Beautiful Once, photo by Erin Baiano.

While the opening piece, Jodie Gates‘ Beautiful Once missed the mark (slightly dated costumes and choreography, and a surprisingly sloppy execution), the next ballet absolutely redeemed the evening. Cayetano Soto‘s Schachmatt, was creative and original. Meaning “checkmate” in German, Schachmatt, proves that dance need not be heavy and emotional to be powerful. The dancers are like chess pieces, unified in black and grey jockey attire, moving in unison to fun mid-century music that sounds like it could soundtrack an exotic vacation for James Bond. The movements are provocative in a light hearted way, which is entirely refreshing in the world of drama-focused 21st century choreographers. Soto’s choreography is distinguished without taking itself too seriously, a rare combination that highlights this company so well.

_mg_5345balletx_35710831244_o

Ballet X in Cayetano Soto’s Schachmatt, photo by Erin Baiano.

Act II presents Matthew Neenan‘s The Last Glass, an indulgent ballet set to the cinematic music of Beirut. I get such fuzzy feelings when I listen to Beirut; It’s as if I’m standing in the middle of a colorful circus- feathers and sequins and laughing faces whirling by- but at the center, where I stand, it is actually quite lonely. Neenan’s choreography reflects the generous use of horns with carnival-like characters, but also the sorrow of Beirut’s vocals. It’s an impressive layering of tone, and the dancers of Ballet X  are exceptional in their ability to illustrate this intricacy.

_mg_6259balletx_36545694805_o

Richard Villacerde and Ballet X in Matthew Neenan’s The Last Glass, photo by Erin Baiano.

The closing evening of the Vail Dance Festival is made even more poignant in its marking of Richard Villaverde‘s last performance with Ballet X. The audience received his final bows with the company (he is on to pursue dancing in New York City) with warm, riotous applause. It was a small demonstration of our appreciation for every evening of brilliant art brought to this stage in the past 2 weeks, if such gratitude can even be measured in applause.

DANCE for $20.17

by
_mg_9054dance2017_36327869931_o.jpg

Lil Buck, Tiler Peck, Johnny Gandelsman, and Ron “Prime Tyme” Myles in Vail Dance Jame 2.0, photo by Erin Baiano.

Vail Dance Festival‘s mixed bill “evening of dance for everyone” is nothing if not inclusive, and despite the rain, crowds flock to feel that inclusion. The evening begins with an extended version of the Vail Dance Jam presented on the first International Evening. This revamped edition shines even brighter than the first, featuring emotive vocals from Kate Davis and an ambitious blend of dance styles. Resident Jookin expert, Lil Buck, is especially enjoyable to watch, gliding through a sentimental solo with more vulnerability than we’ve seen from him so far in the festival.

Up next, an old piece with fresh faces: Unity Phelan and Cameron Dieck take on White Swan Pas de Deux with notable success. Phelan is so well-suited to Odette’s fickle, floating style, and Dieck makes a worthy prince. With her luscious epaulement, easy extensions, and apt emotion, Phelan is a true ballerina in the making. It’s exciting to see this star on the rise so featured here in Vail.

_mg_9153dance2017_36297012572_o.jpg

Unity Phelan and Cameron Dieck in White Swan Pas de Deux, photo by Erin Baiano.

A revival of the 2015 Tiler Peck/Bill Irwin collaboration, Time It Was/116 follows, offering comedic relief and paired down interaction that seems to really please the couple sitting beside me. They are new to dance, and their audible reaction to this upbeat piece is an intangible certificate of success for the festival. I’m just sitting here wondering how Tiler Peck is able to chaine traveling upstage while spotting front. Sorcery. Bill Irwin is so talented and endearing as ever in this cheeky bit.

_mg_9459dance2017_36327868681_o.jpg

Bill Irwin and Tiler Peck in Time it Was/116, photo by Erin Baiano.

George Balanchine’s Chaconne Pas de Deux, danced by Carla Körbes and Jared Angle, paints the stage next. The two inhabit the bodies of ancient Greek divinity in simple, fluttering white costumes. The rain has picked up significantly by this point, and the amphitheater’s funneled roof spouts water like a fountain behind the stage. Backdropped lights illuminate the water ad vivid flowers- the effect is ethereal. For a moment we are in a peaceful garden, watching young lovers swirl.

_mg_9754dance2017_36327868551_o.jpg

Jared Angle and Carla Körbes in George Balanchine’s Chaconne Pas de Deux, photo by Erin Baiano.

The first act closes with two repeat performances, the first is my favorite fierce Agon Pas de Deux danced by Unity Phelan and Calvin Royal III. The two balance each other so well, it makes me wish they were in the same company so they could be paired together more regularly. Perhaps this is a good excuse to return to the festival next year! Another Balanchine piece, Tarantella, returns to the stage next. Lauren Lovette and Roman Mejia take full advantage of the opportunity to really let go this time, amping up the “friendly competition vibes”, sassy banter, and risk-taking. I enjoy it more and more every time.

_mg_0019dance2017_36297017452_o.jpg

Calvin Royal III and Unity Phelan in George Balanchine’s Agon Pas de Deux, photo by Erin Baiano.

Act II presents Denver-based dance company, Wonderbound in Excerpts from Divisions, a collaborative piece featuring live music by Flobots. The performance reminds me of an extended dance sequence from an energetic musical, integrating a full band, quite a few vocalists, and theatrical choreography. The dancing style is sort of a jazz-contemporary fusion, with attention to big lifts and lyric-specific miming. It’s a bit of a flashmob-esque performance, and at the end of a long day, when the sun has gone down and the amphitheater has chilled down, it’s all a bit much for me. It does, however, delight the new dance fans to my left so, Vail Dance Festival Dance for $20.17- mission accomplished.

_mg_0733dance2017_36465155105_o.jpg

Wonderbound Artists in Garrett Ammon’s Excerpts from Divisions, photo by Erin Baiano.

now premieres: celebrating women choreographers

by
_MG_8834NowPrem

Cameron Dieck, Unity Phelan, Da’von Doane, Jared Angle and Liz Walker in Claudia Schreier’s Tranquil Night, Bright and Infinite, photo by Erin Baiano.

Though Damian Woetzel has presented female choreographers steadily throughout his ten years with the Vail Dance Festival (VDF), he decided it was high time he, in his words, “put a button on it.” Last night marked the first ever complete evening featuring premiering choreography exclusively by women.

The evening quite literally opened with a cubed puzzle of dancers unfolding like a kaleidoscope to begin Claudia Schreier‘s Tranquil Night, Bright and Infinite. Schreier’s relationship with the festival goes way back; After studying George Balanchine under Heather Watts at Harvard University, she became one of the inaugural members of the festival’s internship program in 2007. Ten years later, Schreier celebrates the centennial of the great Leonard Bernstein a year early, creating joyful, musically connected movement to his Sonata for Clarinet and Piano. This piece is pleasing to the symmetry obsessed, the long lines of Unity Phelan and Liz Walker creating mesmerizing Rorschach stains. The two seep from the center outward, supported by Cameron Dieck and Jared Angle. Dance Theatre of Harlem’s Da’von Doane shines, his bliss ever obvious from the amphitheater’s last row.

_MG_8930NowPrem.jpg

Patricia Delgado in Pam Tanowitz’s Solo for Patricia, photo by Erin Baiano.

The next offering is perhaps the purest definition of inspiration: as choreographer Pam Tanowitz and dancer Patricia Delgado shared a ride from the airport to the festival last week, Tanowitz was moved to create a solo for Delgado. The resulting Solo for Patricia is an upbeat, staccato conversation with music.

I attended the Newport Folk Festival in Rhode Island just before heading to Vail, and a few of my friends asked what my favorite new music discoveries were. If I were to name one dancer as my favorite new discovery here at the Vail Dance Festival, it would be Delgado. Of course, having a best friend who trained at Miami City Ballet (Delgado’s former company) I was aware of her talent, but seeing Delgado blossom in this intimate space has made me most excited to follow her evolving career.

_MG_9062NowPrem

Jared Angle, Jeffrey Cirio, and Calvin Royal III in Pam Tanowitz’s Entr’acte, photo by Erin Baiano.

The Tanowitz choreography continues, with her offbeat Entr’acte. Named for a German term meaning “between the acts”, this piece shouts from the stage with brightly colored costumes by famed costume designers Reid & Harriet and unapologetic classically modern choreography. The steps are both irregular and casual, expressing a Jerome Robbins’ sort of vibe with dancers dancing for each other, not the audience. The music is a piece by Caroline Shaw, the festival’s first Leonard Bernstein Composer-in-Residence, played live on stage by Brooklyn Rider. Shaw takes the stage pre-show to describe this piece of music as a classic minuet taken along with Alice through her distorting Looking Glass, and Tanowitz’s choreography seems to mirror that. The relaxed quality of Melissa Toogood‘s movement transcends in Entr’acte; she and Tanowitz are a perfect match.

_MG_9924NowPrem.jpg

Devon Teuscher, Patricia Delgado, Andrea Gibson, Lauren Lovette, and Miriam Miller in Lauren Lovette’s Angels of the Get-Through, photo by Erin Baiano.

Closing Act I is Lauren Lovette‘s Angels of the Get-Through. The collaborative work features another Caroline Shaw piece, described by the composer as a 16th century hymnal swirling around the top of a cathedral and falling in fragments back down. Something about this introduction really excites me. It seems so perfectly coordinated with the echoed nature of Andrea Gibson‘s poetry, which is performed live by the poet herself, as she weaves in and out of Lovette’s detailed scenes. The first lines:

when two violins

are placed in a room

if a chord on one violin is truck

The other violin

will sound that same note.

…describe this idea of our reflection on those around us. Perhaps it was my hour-long conversation with the choreographer right before the show (details coming soon!), but I could not help but feel connected to this ballet. I confess I am not usually one for spoken word poetry as accompaniment (I prefer “getting lost” in a classical arrangement) but Gibson’s words- and Lovette’s interpretation of them- are affecting. It’s no surprise at this point that I am enraptured by the first movement featuring an emotional Patricia Delgado, and equally captivated by the following section, where Delgado is joined by Lovette. In a segment of Gibson’s poem designed as a series of commands, calling her love to ultimately “come become beside me,” Lovette and Delgado are immersed in each other. They do not acknowledge us, but somehow we cannot look away.

Lovette departs from her first commissioned work for the New York City Ballet by exploring an entirely contemporary vocabulary. The next section muses on the frailty of human connection and our overriding aversion of interaction with strangers. Miriam Miller and Devon Teuscher are beautifully paired in this exploration of contact. All four ladies come together for a final movement. The girls lift up a wistful Teuscher together, Gibson’s words and their expressions begging her to express herself, to “be the Milky Way”. The entire cast strides forward one at a time to sit side by side on the edge of the stage. For this setting, in this show- in which it seems Lovette has taken to celebrating female relationships- this maneuver is wholly effective.

_MG_1494NowPrem

Vai Dance Festival Artists in Michelle Dorrance’s we seem to be more than one, photo by Erin Baiano.

The evening closes with a 30-minute manifestation of the 2017 Vail Dance Festival. VDF Artist-in-Residence, Michelle Dorrance, is the choreographer/genius if not slightly loony conductor of her we seem to be more than one, the colossal tap-based work featuring a star-studded cast of festival artists. Dorrance reminds me of Jiminy Cricket, whispering into the ears of her dancers. They are her unstring-ed puppets, hypnotized by the percussive movements Dorrance seems to involuntarily produce. This sort of radical presentation is exactly what I hoped to see in Vail: James Whiteside revisiting his roots, Tiler Peck on stage in tap shoes for the first time ever, jookin and flamenco swirled into Dorrance’s style. Damian Woetzel charming Ms. Dorrance, Bill Irwin stealing the show. ABT heartthrob Herman Cornejo just tapping away! It is this sort of nakedness, challenging established dancers with a foreign genre, an exposed style, and an entirely original cast, that makes this piece exclusively “Vail”.

to infinite and beyond

by

IMG_5216

Remember when we talked about Apolla Shocks, way back in the day? Well, I’ve been wearing them for about a month now and I am completely hooked. I mean hooked as in, they are with me in Vail and I’m not even dancing here, hooked. So let’s get you better acquainted, shall we?

Apolla offers three different fits, and while the Performance (medium support) seems to be the frontrunner for me at the moment, the Infinite (maximum support) is pulling a close second. I got to try these out these guys in the black, non-traction style…

IMG_5215

A bit taller in the ankle, the Infinte Shocks offer slightly more stability and compression than the Performance style to relieve sore muscles and fight inflammation up through the calf. These socks will be in heavy rotation throughout the season as my feet swell and my joints take on more pressure.

All Apolla Shocks are anatomically correct, meaning there is a right and left side, making their structured arch support even more effective.

IMG_5214

Since receiving my Shocks, I’ve washed them an embarrassingly few number of times (less than I’d care to admit), but you guys, they don’t get stinky! I meant it. My flat shoes and toe pads are disgusting, but the antimicrobial magic in these things keeps them fresh for(almost)ever.

The Infinite style also features a bit more padding (or as the scientists call it, “knit-in energy absorption”) in the metatarsal and heel to cushion your base and protect your feetsies from the damage dancing can (let’s be real, will) cause.

IMG_5217

Has anyone else tried Apolla Shocks? If you are interested in trying these bad boys out for yourself (ppppsssst, they are releasing a new color soon!), enter code STB-ApollaDiscount-2 at checkout for 10% off, valid through 8/31 (wink).

 

all photo by Jenay Evans for setting the barre.