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Fall for Dance: Pam Tanowitz Dance, Justin Peck & Patricia Delgado, Gemma Bond Dance, Paul Taylor Dance Company
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Fall for Dance: Pam Tanowitz Dance, Justin Peck & Patricia Delgado, Gemma Bond Dance, Paul Taylor Dance Company

- Onstage with the Dancers

NY City Center
Fall for Dance – Program II

Pam Tanowitz Dance
Justin Peck & Patricia Delgado
Gemma Bond Dance
Paul Taylor Dance Company

At New York City Center
www.nycitycenter.org

Arlene Schuler, President & CEO
Stanford Makishi, VP Programming
Clifton Taylor, Festival Lighting Director
Danny Erdberg, Festival Sound Supervisor
Joe Guttridge, Director, Communications


Dr. Roberta E. Zlokower
October 4, 2018


Pam Tanowitz Dance
New Work for Goldberg Variations (excerpt) (2017):
Conceived by Simone Dinnerstein and Pam Tanowitz, Choreography by Pam Tanowitz, Music by Johann Sebastian Bach, Costumes by Reid Bartelme and Harriet Jung, Lighting by Davison Scandrett, Simone Dinnerstein on Piano, Performed by an ensemble of seven.

Justin Peck & Patricia Delgado
Sleep Well Beast (World Premiere):
Choreography by Justin Peck, Music by The National, Lighting by Brandon Stirling Baker, Performed by Justin Peck and Patricia Delgado.

Gemma Bond Dance
Inner Voices (World Premiere)
Choreography by Gemma Bond, Music by Sergei Prokofiev, Costumes by Sylvie Rood, Lighting by Serena Wong, Production Manager: Jeremiah Bischoff, General Manager: Jennifer McGrath, Performed by an ensemble of seven.

Paul Taylor Dance Company
Promethean Fire (2002):
Choreography by Paul Taylor, Music by Johann Sebastian Bach, Orchestrated by Leopold Stokowski, Costumes by Santo Loquasto, Lighting by Jennifer Tipton, Production Manager: Katie Houff, Performed by Michael Trusnovec, Parisa Khobdeh, and the Company.

Tonight’s Program II of New York City Center’s Fall for Dance Festival 2018 was completely packed with the highest caliber of talent. Opening the evening was Pam Tanowitz’ New Work for Goldberg Variations (excerpt), with her sought-after Company, along with Ms. Tanowitz’ collaborator, renowned pianist, Simone Dinnerstein. Seven dancers in striped, chiffony short costumes, of red, blue, and earthy shading, dance about the piano, making eye contact, while Ms. Dinnerstein plays this remarkably difficult work. It is classically refined, free-flowing, and unique in the pianist-dancer connections, evocative of several Robbins and Balanchine ballets.

Justin Peck, the Resident Choreographer and Soloist with City Ballet, appeared tonight with his partner, Patricia Delgado, formerly reviewed on these pages with Miami City Ballet. Mr. Peck, a very busy choreographer, created their pas de deux in sneakers, Sleep Well Beast. The music, by The National, was new to me, as was this premiere dance. This was sadly all too short, as it was exquisite, and, although I am not a fan of ballet in sneakers, Mr. Peck is a wizard of this genre. The chemistry of the duo is thick, the intertwining partnering, lifts, and deliberate or rapid to and fro were too mesmerizing to take notes in the moment. I would like to see this again soon.

Gemma Bond, a Corps dancer with American Ballet Theatre, and a winner of last year’s Clive Barnes Award for her choreography, brought Inner Voices to City Center tonight. Seven dancers, six of whom are seen on these pages during Ballet Theatre’s season, dance to a mystery Prokofiev score. I wish scores would always be identified, even just for the curious attendee. Sylvie Rood’s costumes catch the eye, with pastels woven on the torso, it seemed, and brief blue bottoms, for Mr. Whiteside and Ms. Trenary, while the remaining dancers were in contrasting shades. There was a relaxed eloquence inherent in the design.

As tonight’s closing work, there was not a dry eye in the house. Paul Taylor, our beloved Mr. Taylor, died in August. His Company replaced Black Tuesday with Promethean Fire, his sumptuous, 2002 dramatic ballet, designed for the entire Company to pay tribute to the victims of 9/11/2001. Tonight, the entire Company instead paid tribute to Mr. Taylor. To Stokowski’s orchestration of Bach’s heartrending Toccata & Fugue, Prelude, and Chorale Prelude, the Company literally danced their hearts out. Michael Trusnovec and Parisa Khobdeh were, as always, featured in stark, stunning intensity. The Company’s athleticism and power are expanded with Santo Loquasto’s black, velvet unitards, laced with glittering gold threads. The dancers exude a glistening, warm glow, thanks to Jennifer Tipton’s lighting design. The resonant chords of the organ, and the hypnotic and mesmerizing intertwining of bodies onstage and mid-air, with sudden, partnered, gravity-defying leaps and grasping torso landings are always momentous. When the Company falls into one mountain of lifeless bodies, the audience is breathless. I never tire of this ballet and could watch it endlessly.

Kudos to New York City Center for its annual Fall for Dance Festival, always a high point of each new dance season.



Justin Peck & Patricia Delgado
in "Sleep Well Beast"
Courtesy of Paula Lobo




Gemma Bond Dance
in "Inner Voices"
Courtesy of Paula Lobo


For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net