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admin 11.04.2016

Reviewing the Drama offers news and views about theatre, ballet, movies and other forms of artistic expression. For my final New York City Ballet outing for the 2011-2012 season, I got to see three ballets that, while in the company’s repertoire for decades, were new to me. As my eyes got used to the design and began focusing on the movement, I was able to see that there was some great dancing and choreography on display. Whether a ballet tells a story or concerns itself with pure dance, its form is determined by the web of music on which it is composed according to the interpretations of the choreographer. Next is the dance for men, with Adrian Danchig-Waring, Justin Peck, Taylor Stanley, Sean Suozzi and Christian Tworzyanski. Knowing my lackluster feelings for many Balanchine ballets, it might not surprise you to learn that I thought the costumes were about the only thing that sparkled. Of course one of my favorite dancers, Sterling Hyltin, was featured in Symphony in C, so I thrilled over watching her. If you haven’t experienced it, the inside of the Koch Theater at Lincoln Center feels like prom, but in a good way. As the music swelled and the lights dimmed before my first ballet ever, I tried to compose myself in a prim and proper way.
To my surprise, this ballet performance of Romeo and Juliet was goofy and the audience was allowed to laugh. If you are attending the ballet for the first time, like me, here are some things I learned that will make your experience better. It is a good idea to review the plot of whatever story you’re seeing before attending the ballet. The two and a half hour performance featured three separate sections, allowing for brief intermissions and variation that held my attention. Now that I’ve seen two ballets and am an expert, I prefer and would recommend the story-type performance. Recent PostsAlways On Content forms a collaborative partnership with a top tech PR firm in NYCBy Dimitri Van Raemdonck The content marketing agency, Always On Content, has formed a collaborative agreement with the top tech PR firm, Macias PR, allowing both agencies to leverage their expertise, talent, resources and technology.
Taylor Stanley (suited in diamonds), who’s been dancing more and more featured roles this year, showed off his incredible extension.
The score conditions, supports, predicts and establishes the dynamics, tempos and mood, not only for the dance but also for the audience. Presenting a stark (and much welcomed) contrast to Jeu de Cartes, this ballet is performed without any scenery and with the dancers in what look like rehearsal clothes.

With Rebecca Krohn, Savannah Lowery, Brittany Pollack and Gretchen Smith, this was particularly interesting because for most of the ballet, only three of the four women were dancing. A spontaneous night out led me to discover a way to get last-minute discounted tickets to the New York Ballet Company for only $20.
Circle lights that resemble diamonds line the theater, accentuating the spherical chandelier that glitters from the ceiling. Without sacrificing talent, the dancers playing Mercutio and Benvolio pranced around stage, playfully trying to cheer up gloomy Romeo. There is no dialogue to clarify or move things along, so familiarizing yourself with the story line beforehand will allow for a comprehensive enjoyment of the whole performance. The first, entitled Serenade, was intended to be romantic: a male dancer spends the duration searching for and pursuing a particular ballerina amongst the group of dancers. Severe disappointment that I’ll never be flexible enough to even consider being a ballerina. Characters, costume changes, and a plot engage the audience and allow them to appreciate the dancing even more.
The dancers are adorned in fairly typically shaped costumes, but the patterns are made to look like playing cards. Joaquin de Luz (suited in spades) danced with vigor (his energy reminding me of the terrier he danced with last week in Makin’ Whoopee! The music acts as a base for the spectators’ responses to the happenings on stage and creates a pervasive atmosphere for reaction.
The most intense moments are often without underscoring so as to force the audience to focus on what’s being said. By focusing on the movement and the sounds the dancer’s made as they moved, there was almost a percussive overtone that developed. Smith remained still for about three-quarters of the movement so when she finally got up and danced with the group, it really meant something. The dance is slightly altered for the solo dancers (Robbins can only bend the laws of physics so much) creating exquisite variations on a theme.
On Reviewing the Drama, I’ll be bringing you my musings on culture and pop-culture and other odds and ends that pique my interest. I had to suppress a laugh at how dramaticthe choreography was, calling for the lead ballerina to throw herself to the floor and spend large chunks of time acting helpless. Sporadically, Martins had his dancers teeter from side to side and wiggle their heads - like they were trying to psych out their opponent in this game of poker.

Moves severs that guidance and permits the audience to respond solely to the action of the dance, to become aware of the potential to gesture, to respond directly to the curiosity of movement and to be released from the associations evoked by scenery, costumes and music.
I found there to be nothing particularly noteworthy in the choreography - just lots of lovely, graceful movements. Groups of dancers came out for an almost-final hurrah, but instead of leaving the stage to make way for the next cluster, the ladies began lining stage left, stage right and the upstage wall, enveloping their fellow dancers. This ballet was not performed as a story in the way that Romeo and Juliet was, so it was much more serious.
2, was the longest and most impressive, involving both long solo performances and carefully synchronized group dances. Thanks to student rush deals, I am that much closer to completing the Lincoln Center trifecta (Ballet, Philharmonic, Opera). We’ve gotten our clients high-profile media placements in the New York Times, Good Morning America, Inside Edition, the New York Post, CNN, Fox News and others. The featured dancers, principals Tiler Peck, Joaquin de Luz and Andrew Veyette and corps de ballet member Taylor Stanley, wore costumes that were even more tricked out - looking almost like cartoons. Andrew Veyette (suited in clubs) has an appealing casualness to his dancing style, which offered a nice balance to the seriousness of Stanley’s. Peck would do this, and then slyly transition into a softer, more alluring seduction, winning the hand and wrapping up the game. This was all so distracting and dizzying that for nearly the first half of the ballet, I could not see the movement. Since nothing was being said (and there was no ambient noise), the slightest movement - a hand gesture or a head turning - spoke volumes.
Meet Teri London, who is making a splash on the mixed martial arts scene in the Lingerie Fighting Championship after getting her start as a backup dancer in music videos for Beyonce and Britney Spears. Garmin’s Forerunner 10, unlike the Apple Watch, has GPS that lets you track and store information, like distance and calories burned from your daily activities. When you break a bone and visit your doctor, you know what's going to happen--your bone will be set in a splint or cast and eventually heal.

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