Dancing Dreams Come to Earth at Jacob's Pillow

James writes:

Jacob's Pillow, the legendary summer dance festival in Becket, Massachusetts founded in 1933, has had a stirring start to 2014, with dance that stands on its own two feet. On the second stage of the Doris Duke Theatre, Dorrance Dance tapped out a sold-out two-week run. Meanwhile on the main stage at the Ted Shawn Theatre, New York City Ballet principal dancer Daniel Ulbricht directed several teammates from his NYCB squad in the enigmatically titled "Ballet 2014."

The purpose of Ballet 2014 was to present ballet of the present, with choreography from the past ten years. Introducing the evening, the Pillow's executive director Ella Baff promised "a range of works of many different choreographers, many of whom are most talked about in the ballet world."

NYCB has made big strides bringing the classical Balanchine aesthetic up to date, elevating contemporary dance with performers who are down to earth. A polished series of online video shorts, sponsored by AOL, recently put the dancers in the framework of reality TV and gave them a family-focused, all-American spin. Far from the ethereal, detached, and sometimes crazed reputation of ballet overseas, NYCB has all the knee-slapping, group-huddle wholesomeness of "Hey Let's Put on a Show."

Which is what Ulbricht did at the Pillow, and it was a hit. The first half presented five ballets that explored the romance (and longing) of pas de deux. Here was NYCB at its best, with dancers who were engaged with one another (if not actually married), the hometown kings and queens center stage at the summer-camp social. For me the first piece, "Furiant" (2012), danced by Teresa Reichlen and Robert Fairchild with choroeography by Justin Peck, was the least engaging. The flowing woodsy outfits were right for the setting, but Reichlen lacked the charged spirit, the twitters of expression, to connect fully with Fairchild. On this, I should say, I was in disagreement with my date, my four-year-old balletomane daughter, who most preferred the bright quality of this piece set to Dvořák's "Piano Quintet No. 2."

Up next (in reverse order from the program) was "Pas de Deux from Two Hearts" (2012), danced by Tiler Peck and Tyler Angle with choreography by Benjamin Millepied and original score by Nico Muhly. Now here was a marquee lineup of contemporary dance if there ever was one. Muhly's music had the saccharine emotion of a high-school mixtape, but in the sticky woods it seemed right. Millepied's dance is aqueous, slow-moving, a nighttime dip that ends with two steadies embracing on the lake shore. Peck and Angle wore swimsuits, and with her fluid, mellifluous movement, Peck was a dripping dream diving into Angle's arms.

"Liturgy" (2003), danced by Rebecca Krohn and Craig Hall with choreography by Christopher Wheeldon, was the most self-consciously modern dance of the evening. Krohn was a specter floating through Hall's oaken branches, the treble and bass strings in fugue. The following world premiere of "Opus 19. Andante," danced by Emily Kikta and Russell Janzen with choreography by Emery LeCrone, was pleasant but ultimately the most forgettable dance of the night, although it had a goose-bump ending.

And finally came the "Sunshine" (2013), danced by the leader Daniel Ulbricht with chorgeography by Larry Keigwin. The work was set to the familiar tune of "Ain't No Sunshine" by Bill Withers. It was regrettable that the music wasn't live, as shown on the pillow's online preview of the evening. And it should be said that recorded dance performances in general have a terrible problem with over-amplification, and my ears were not spared during the night's run. Nevertheless, Ulbricht danced a remarkable pas de deux as a solo. Absent a partner, he radiated his athletic energy and puffed up chest to the audience in a way that called to mind the original hardest working man in show business, James Brown. 

Daniel Ulbricht, Tyler Angle, and Robert Fairchild in "Fancy Free." Photo: Christopher Duggan.

After intermission came the dessert: "Fancy Free" (1944), choreography by Jerome Robbins with music by Leonard Bernstein. The work is now even better known for its adaptation into the musical and movie "On the Town." Everything about this ballet of three sailors in the City on shore leave is quintessentially American and ideal for NYCB. Angle, Ulbricht, and Fairchild exude a natural camaraderie, and Georgina Pazcoguin and Tiler Peck are just right as the savvy purse-swinging ladies they meet outside the bar. As opposed to a pas de deux, "Fancy Free" is a three to two, with three sailors vying for two dames, and all the beer-drinking braggadocio that goes along with that. It is remarkable that "Fancy Free," according to the archives, had not been performed at the Pillow since 1949. Perhaps there just wasn't quite the right team of dancers to pull it off until now.  

The Jacob's Pillow Dance Festival 2014 continues in Becket, Massachusetts through August 24.

The New York City Ballet 'Family Saturday'

Corps de ballet members performing an excerpt from Peter Martins’s Swan Lake as part of a NYCB "Family Saturday."

James writes:

A cultural highpoint of classical music must be the development of engaging programs for children. Such events combine just the right mix of performance and narration to captivate and educate future generations (while also delighting the parents in tow).

The "Young People's Concerts" series at the New York Philharmonic offers the best, longest, and most consequential example of how this can be done right. The YPCs started as weekend children's matinees back in the late nineteenth century, became a regular feature in 1926, and reached their zenith (and "the Zenith") in the televised broadcasts of Leonard Bernstein starting in 1958. Some years ago, I watched the full run of these TV broadcasts, which is now available in a nine-DVD set from Kultur video, and wrote about it here.

I grew up attending the children's concerts at Lincoln Center (just after the Bernstein era). Now that I have a young daughter, I am back again. But as we've found, just because they are aimed at children, such concerts are not easy to perform well. A good children's concert is not a short, poorly orchestrated, dumbed-down version of an adult concert, which was what we unfortunately found last summer on the lawn at Tanglewood. All the Boston Symphony Orchestra did with that performance was drive a generation away from live performance, or at least the BSO's approximation of it, and back to YouTube. (If you didn't already know, some of the most captivating classical performances for children can now be found online. Just take a look at our current favorite--the Mariinsky's Nutcracker in flawless HD).    

Coming off the BSO experience, we were unsure what we'd find at last weekend's New York City Ballet "Family Saturday." Billed as a one-hour presentation "designed especially for family audiences," the performance promised "short works and excerpts from New York City Ballet's diverse repertory" with narrative instruction by NYCB artists "offering insights on the music and choreography." 

The answer was the finest children's performance I could imagine. Kept to a captivating, fast-paced hour, the NYCB performed excerpts from the season's repertory. This meant Emeralds with music by Gabriel Fauré, The Concerto Barocco with music by J. S. Bach, Who Cares? with music by George Gershwin, Barber's Violin Concerto, Dances at a Gathering with music by Frédéric Chopin, Todo Buenos Aires with music by Astor Paizzolla, and excerpts from the second and third acts of Coppélia with music by Léo Delibes.

Of the entire selection, the opening performance of Emeralds was the one letdown. At least one of the dancers was off a beat, and viewed from left orchestra, some of the staging was obscured by the musicians who were performing stage right.    

But it all came together as soon as the morning's emcee, Silas Farley, stepped on stage. Farley may for now just be a young member of the corps de ballet, but his star quality can already outshine the principals of the company. My daughter and I first got to know about him through the NYCB's new online reality show, a high-production-value if slightly clichéd web series produced by AOL of life inside the company, with Sarah Jessica Parker narrating and ballet master Peter Martins acting as the heel (he would make a great villain in a 1970s-era James Bond film).

Here's a tip for next season's videos: less talking, more dancing. But between the catty gripes, the show did give us a glimpse of Farley, who was filmed the moment he received his contract to join the company. Taking bets now: With his great poise and bright attitude, Farley may one day be, what, Principal Dancer? Ballet Master? President of the United States? Until then we were lucky to catch him leading the NYCB's Family Saturday.

On stage, Farley's enthusiasm for dance was infectious as he (and the show's writers) made intelligent and fun comparisons between the programs--such as the differences between the choreography of George Balanchine in Jewels (with its performance directed at the audience) and Jerome Robbins in Dances at a Gathering (played more towards the other dancers on stage). He helped us appreciate the fun of Martins's choreography in the Barber Violin Concerto (with ragdoll moves by Megan Fairchild). He introduced us to an accordion-like instrument called the Bandoneon, played by JP Jofre, in Todo Buenos Aires. Finally, for Coppélia, with its robotic doll, he had the children of the audience stand up and move like marionettes.

It seems to be just the right metaphor. Here was a concert that pulled every string to further a child's appreciation of ballet.  

The NYCB's next Family Saturday is May 10, 2014, hosted this time by Principal Dancer Daniel Ulbricht. Tickets are for general admission and $20 each.