Coming soon to a theater near....

Not so soon, in fact 2014-15 season at the Public:

"Hamilton," written by the Tony and Grammy Award-winning composer and lyricist Lin-Manuel Miranda, will have its world premiere next January as part of The Public’s 2014-15 season at Astor Place. Directed by his In The Heights collaborator Thomas Kail, this new musical features Miranda playing Alexander Hamilton, one of our country’s Founding Fathers and the first Secretary of the Treasury.

The brilliant musical "previewed" at an American Songbooks presentation in 2012. Performances begin at the Public on January 20, 2015.

“Lin-Manuel Miranda is a marvel, but nothing could have prepared us for the astonishing achievement of Hamilton,” said Artistic Director Oskar Eustis. “Alexander Hamilton was born in the West Indies, the only Founding Father who was an immigrant, and Lin’s genius is to tell the story of the birth of the United States as an immigrant’s story. The energy, the passion, joy, tragedy, and raw intelligence of this show are stunning.”

More information at http://www.publictheater.org/

February 25-March 30

Do we exist only as constructs in each other's minds? Explore this concept and Sartre's famous bon mots, "Hell is other people," at the Pearl Theatre's production of "No Exit." For tickets and informaiton, please go to http://www.pearltheatre.org/1314/noexit/

Jolly Abraham as Inez and Sameerah Luqmaan-Harris as Estelle in a scene from "No Exit."
Photo by Al Foote III

March 11-April 12

Paula Vogel's "And Baby Makes Seven" is an uproarious and timely comedy that has not been seen professionally in New York in 20 years. Marc Stuart Weitz directs an ensemble including Ken Barnett,  Susan Bott and Constance Zaytoun. Vogel’s "And Baby Makes Seven" tells the story of Anna and Ruth, a lesbian couple, who enlist their gay friend Peter to help them create a family. But are any of them ready for parenthood?
For tickets and to find out more, visit newohiotheatre.org

March 14-April 5

The Chocolate Factory Theater is presenting the world premiere Target Margin Theater's "Uriel Acosta: I Want That Man!" from March 14-April 5. This new adaptation of one of the central plays of Yiddish history is taken from a variety of literary and historical sources and created and directed by TMT’s Artistic Director, David Herskovits. Original songs are by Rebecca Hart, with toy theater created by Kathleen Kennedy Tobin for this production.
Tickets and information are available at chocolatefactorytheater.org

April 1-12

Singer-songwriter Alexa Ray Joel, Christine Brinkley's and Billy Joel's talented daughter, makes her premiere at Cafe Carlyle.
Visit www.thecarlyle.com to find out more.

April 5

Patricia Kenny Dance Collection presents "Spring Collection" which includes their world premiere of "Unrest" choreographed by Patricia Kenny Reilly. Excerpts of "Unrest" were released on film in an open rehearsal series web forum, and this evening PKDC will share the culmination of the work-in-progress. The evening of dance is at the Queens Theatre for one night only.
For tickets, visit https://web.ovationtix.com/trs/pe.c/9883433. To learn more about PKDC, go to www.patriciakennydancecollection.com.

April 17-30

Ripe Time, the Brooklyn-based company led by Rachel Dickstein, will premiere "The World is Round,"
which adapts the Gertrude Stein book, at BAM Fisher. Conceived, written and directed by Dickstein, the work is a fable (for grownups and mature children) full of original live music by Heather Christian and aerial movement choreographed by Nicki Miller. "The World is Round" is Ripe Time’s first new show since 2011 when it launched its celebrated Mrs. Dalloway adaptation Septimus and Clarissa.
Go to www.bam.org/theworldisround for tickets and informaiton.

April 17-May 11

"The Complete & Condensed Stage Directions of Eugene O'Neill, Volume 2" in sequel to the award-winning "... Volume 1" is adapted and directed by Christopher Loar, ensemble member of the New York Neo-Futurists.

Now he's a legendary playwright and a Broadway mainstay, but Eugene O'Neill was once considered an experimental, downtown playwright. His plays defied the melodramatic conventions of the day and much of his work premiered with the Provincetown Players on MacDougall Street. The New York Neo-Futurists return O'Neill to his experimental roots, and "...Volume 2"  spans the years 1913 - 1915, and includes his plays Recklessness, Warnings, Fog, Abortion, and The Sniper.
Tickets and informatiokn at www.nynf.org

April 23- May 18

Part of the Brits off Broadway at 59E59, Harry Melling's debut play, "Peddling" makes its US premiere.
A peddler wakes up in a field, with no memory of how he got there or what happened the night before. In his attempt to find out what happened, everything comes into question.
Learn more at www.59e59.org

50 Shades of Gray, the musical and Beauty and the Beast are among the shows still playing in these listings:
http://tbontheaisleatheaterdiary.blogspot.com/2014/02/around-town.html

"Fast Company" plays through April 6th and "The Pig, or Vaclav Havel's Hunt for the Pig" only through March 29th.. At the latter, dinner is served at the 3 Legged Dog production, provided by the Slovakian restuarant Korzo.

A Sampling of Off Broadway Theater

OFF-BROADWAY THEATRE LISTINGS

"The Mutiliated" extended through December 1.

Marie Antoinette. Photo by Pavel Antonov

SOHO REP 2013-14 SEASON TO INCLUDE NEW YORK PREMIERE OF DAVID ADJMI’S MARIE ANTOINETTE AND WORLD PREMIERE OF BRANDEN JACOBS-JENKINS’ AN OCTOROON

Directed by Rebecca Taichman and Sarah Benson, Respectively, Shows are Among the Most Ambitious Soho Rep Has Ever Produced

SOHO REP 2013-14 PROGRAMMING

Soho Rep,
with John Adrian Selzer, presents
Marie Antoinette (New York Premiere)
by David Adjmi
Directed by Rebecca Taichman

October 9 – extended to November 24
Opening: October 20
Performance Schedule: Tues—Sun at 7:30p, Saturday at 3p
In association with American Repertory Theater and Yale Repertory Theatre

Soho Rep,
In association with John Adrian Selzer, presents
An Octoroon (World Premiere)
by Branden Jacobs-Jenkins
Directed by Sarah Benson
April – May, 2014

Soho Rep. (46 Walker Street, Manhattan)
Tickets: Through Nov 3: $35 General / $50 Premium; Nov 5–17: $55 General / $75 Premium;
Nov 19—24: $55 General / $80 Premium; $20 Student Rush; $30 General Rush;
$0.99 Sunday, October 13, 27
sohorep.org; 212.352.3101

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"Bleeding Love", free staged readings of "a post-apocalyptic new musical comedy", book byJason Schafer, music by Arthur Lafrentz Bacon, lyrics by Harris Doran, directed by Michael Bush, presented by Amas Musical Theatre as part of the Amas Musical Theatre Lab Series, on Tuesday, October 15th at 3pm and 7pm and Wednesday, October 16^th at 1:00pm, at The Theatre at the 14^th Street Y, 344 East 14^th Street.

TICKETS: FREE

FOR RESERVATIONS EMAIL boxoffice@amasmusical.org, or CALL 212-563-2565

These performances are free

AMAS MUSICAL THEATRE

THE AMAS MUSICAL THEATRE LAB

Donna Trinkoff/Artistic Producer 

PRESENTS A FREE STAGED READING OF

FRIDA

A Musical

 by Michael Aman and Dana P. Rowe

Musical Director

Doug Oberhamer

 Directed by 

Maria Torres

Friday, October 25 @ 6:00pm

Saturday, October 26 @ 3:00pm & 7:00pm

The Theatre at the 14^th Street Y

344 East 14^th Street, New York City

(between 1^st and 2^nd Avenues)

For Reservations email boxoffice@amasmusical.org or call 212 563-2565

Visit www.amasmusical.org for more information   

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Photo by Daniel Phakos

Support the Walk.
Stay for the Dance!

In support of the Avon Walk for Breast Cancer, the Graham Ensemble and dancers from the Martha Graham School will premiere

"Reservoir"

a new dance work by Cynthia Anne Stanley, Founder of Bardos Ballet Theater,

Saturday, October 19, 2013

The Brooklyn War Memorial at Cadman Plaza Park 

11:15am - 2:00pm
The performance repeats every half hour

Performances are free to the public!

 Live Music by Owen Weaver

Costumes by Andrae Gonzalo

Dedicated to Brian Torrey Scott

Come celebrate, support and enjoy!
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ABRONS ARTS CENTER PRESENTS US PREMIERE OF IRISH THEATER COMPANY DEAD CENTRE

‘Souvenir’Adapts Marcel Proust’s Epic Novel Cycle Into An Hour-long Play

Abrons Arts Center Presents

Dead Centre, Souvenir (US Premiere)

Written & Performed by Bush Moukarzel

Directed by Ben Kidd

Performances: November 14–17, 20–23 at 8:00 p.m.

Abrons Arts Center Experimental Theater (466 Grand Street)

Tickets:$15, online at glob or by calling 212.352.3101
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Photo by Scott Wynn

Legendary avant-garde performers Mink Stole and Penny Arcade are set to star in the first New York revival in 38 years of Tennessee Williams's tender black comedy "The Mutilated." Directed by Cosmin Chivu, the prodcution runs Nov 1-24 at the New Ohio Theater has extended to December 1.

This is the first production in 38 years of the play, which will now continue it's run through December 1st in response to popular interest.

Penny Arcade, Male, Mink Stole in The Mutilated by Tennessee Williams, Photo by Cosmin Chivu

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The Public Theater Extends the world premiere musical 'Fun Home" to Sunday, November 17th.

Music by Jeanine Tesori, Book and Lyrics by Lisa Kron, Based on the Alison Bechdel Book

Directed by Sam Gold. Single tickets, starting at $81.50, can be purchased by calling (212) 967-7555, 

www.publictheater.org, or in person at the Taub Box Office at The Public Theater at Astor Place at 425 Lafayette Street. 

Photo by Joan Marcus

Sexy Sells: "Forever Tango"

Gilberto Santa Rosa and the cast and musicians of Luis Bravo's "Forever Tango," in a photo by Walter McBride.

Tango is about desire and possession.

Luis Bravo's "Forever Tango," returning from a world tour to The Walter Kerr Theatre through September 15th, is a showcase for the ritualized sexiness of this aggressively elegant dance.

Karina Smirnoff and Max Chmerkovskiy with the cast of "Forever Tango." Photo by Walter McBride.

Guilty pleasure and fan favorite Maxsim Chmerkovskiy adds his "Dancing with the Stars" charisma as a Guest in "Forever Tango," partnering with the lovely and talented Karina Smirnoff, herself a mirror ball trophy winner on the ABC show. The varied choreography -- no small feat in such a familiar dance form-- is attributed to The Dancers, each pair of whom is responsible for the acts they perform. The exception is "Comme I'll Faut," choreographed by Juan Paulo Horvath and Victoria Galoto for Max and Karina. 

Juan Paulo Horvath and Victoria Galoto in Luis Bravo's "Forever Tango," at the Walter Kerr through September 15th. Photo by Walter McBride.

In a tribute to the signature instrument that gives the tango its distinctive sound, Juan emerges from a giant bandoneon in "Preludio del Bandoneon y la Noche" to be joined by Victoria coming from the wings. Juan has his own somewhat gangsterish charm and is very dapper in spats and fedora. 

The many and also varied costumes for "Forever Tango" are the design of Argemira Affonso, each costume change setting up the scene and the characters. Of course, the tuxedo or some variant is the staple for the men in many of the tangos. It's the ladies who get to show off leg in black split skirts with red trim, or in slinky white sequined gowns. It's also the ladies, who Ginger Rogers-like, do what the men do, just backwards and in stilettos. 

Erotic and dangerous, rugged and delicate, the tango requires precision and artistry, all of which the cast provide in abundance. Gilberto Santa Rosa, "El Caballeor de la Salsa," with five Grammies to his name, sings bewitchingly of longing and love, sometimes in accompaniment of the dancers, sometimes on his own. 3-time Latin Grammy and Granmy Award winner, Luis Enrique takes over for him on July 30th.

Ariel Manzanares and Natalia Turelli are the comic relief in "Forever Tango," and they take their role very seriously. For example, in the wry "La Tablada," the couple fight over an elicit camera which they in turn flash at the orchestra and each other. Manzanares gives witty impersonations of a clown in his appearances, while Turelli plays the straight woman to perfection.

The large company of dancers, as well as the on-stage orchestra, has clearly been chosen from the best of the best.

“Forever Tango” is not a prescriptive or a rallying cry, but a promise. There is infinite variety in the ardor of its movements which promises lifetimes of pleasure.

For more information about Luis Bravo's "Forever Tango," please visit http://forevertangobroadway.com/.

Summer is for dancing: a couple of out of town Festivals

What’s 80 years old and extremely modern? Well, yes maybe also your ultra-hip granny but we’re thinking more along the lines of ADF.

The American Dance Festival, founded in 1934 in Bennington, VT, and now located in Durham, NC, is a summer home for an international community of dancers, choreographers, critics, musicians, students, and scholars joined in a supportive environment for creation and presentation of new works.

 

LeeSaar-MassMoCA. Christopher Duggan

Featured artists for the week of June 30^th through July 7^th include LeeSaar The Company which is bringing an ADF-commissioned work for their premiere performance called “Grass and Jackals.” The dance and light piece by the company, founded by partners Lee Sher and Saar Harari in 2000, explores movement and theatricality in a dynamic contemporary form.

Also on the stages at ADF is Kyle Abraham with Abraham.In.Motion, bringing his new work, “Pavement,” an exploration of the hard road black America has had to take during the past century.

The extremely popular Musician’s Concert is back on July 3^rd this year at 8:00pm as are dance and bodywork classes at ADF’s Samuel H. Scripps Studios for adults while ADF Project Dance, under the direction of Gaspard Louis, partners with Kidzu Children’s Museum to offer two free movement classes for children during the third week of the Festival.

In contrast to the long-established ADF, the Cape Dance Festival will be holding its inaugural event on July 27^th in Provincetown, MA. The brainchild of performing arts professionals Stacey-Jo Marine and Liz Wolff, the Festival includes Paul Taylor Dance Company, Project Moves Dance Company, CorbinDances, Lady Luck Burlesque, Lorraine Chapman the Company, and Yesid Lopez. As a throwback to an ancient tradition, the Cape Dance Festival is being held outdoors in an amphitheater, the Province Lands Outdoor Amphitheater, to be precise.

Among the many works on hand, will be "Paean," a solo choreographed by the late Christopher Gillis, a member of Paul Taylor's troupe. “Paean” will be danced by Michael Trusnovec, a senior dancer in the Paul Taylor Dance Company. Christopher Gillis died from AIDS complications in 1993. Ticket sales for all Festival performances will go towards raising funds for the AIDS Support Group of Cape Cod.

Visit http://capedancefestival.com/about/ to learn more about Cape Dance Festival.

To learn more about the American Dance Festival, visit http://www.americandancefestival.org/

Paul Taylor Dance Company's Grand Gala!

The gift that Paul Taylor shares with us is not his longevity --he's 82, as it happens-- but his lifelong creativity!

His latest creation, "Perpetual Dawn," which enjoyed a world premiere at the Gala on March 5th at Lincoln Center's David H. Koch Theater, is a balletic work set in a rustic backdrop. A troupe of eleven dancers, clad as turn of the century peasants under a gorgeous landscape backdrop.The set and costumes are by Santo Loquasto with lighting by James F. Ingalls adding to the blissfully pastoral atmosphere of the piece. "Perpetual Dawn" is excitingly balletic!

"Offenbach Overtures," Paul Taylor's 1995 tweak on the composer of the can-can makes for a light-hearted and beautiful romp.  Even for big fans of Moulin Rouge, Toulouse-Lautrec and La Belle Epoque, "Offenbach Overtures,"  is supremely funny.

The Paul Taylor Dance Company's spring season offers more hi-jinks and high kicks, continuing on through March 24th.

For information and tickets, please visit www.ptdc.org  Tickets may also be purchased at the David H. Koch box office on the Lincoln Center plaza.

Commmeorating 100 Springs of "Le Sacre du Printemps

Michael  Trusnovec in Paul Taylor's Le Sacre du Printemps (The Rehearsal, photo by Paul  B. Goode

It’s been 100 years since a near-riot broke out in a Parisian theater,  Théâtre des Champs-Élysées, as Vaslav Nijinsky staged his now notorious ballet for Sergei Diaghilev's Ballets Russes. It is said that it was not Igor Stravinsky’s new and experimental “Le Sacre du Printemps”  but the seeming brutality of the ballet that caused the outcry. 

Launched in the turmoil of conflicting artistic opinion, with that performance on May 29, 1913, Igor Stravinsky’s “Rite of Spring” has enjoyed its place in the sun ever since. In fact, Stravinsky's music is one of the most recorded works in the classical repertory, and has had a great influence on many of the 20th century's leading composers.  

This year, Igor Stravinsky’s  beautiful work is getting the birthday bashes it deserves. And a revival of the Paul Taylor ballet “Le Sacre Du Printemps (The Rehearsal)”as an  anniversary treatment as well. It’s like icing on the cake.

Michael Trusnovec and Laura Halzack in Paul Taylor's Le Sacre du Printemps (The Rehearsal), photo by Paul B. Goode

Never one to shy from a controversy, Paul Taylor gives his take on the Vaslav Nijinsky original in   “Le Sacre Du Printemps (The Rehearsal),” set to the two piano version of the revolutionary composition.

In PTDC’s spring season, “Le Sacre Du Printemps (The Rehearsal)” will be performed on March 8th, 14th and 22nd at the David H. Koch Theater at Lincoln Center.

Also look for the premiere of Taylor's 138th dancepiece, along with the New York premiere of "To Make Crops Grow" (his 137th creation. Expect the return of old favorites, as well, of course,  like "Company B" (see reviews at 

http://www.vevlynspen.com/2011/03/keeping-it-relevant-at-paul-taylor.html, http://tbontheaisleatheaterdiary.blogspot.com/2011/09/celebrate-dance-with-paul-taylor-dance.html,  and http://www.vevlynspen.com/2011/03/keeping-it-relevant-at-paul-taylor.html, http://tbontheaisleatheaterdiary.blogspot.com/2012/02/celebrating-50-years-at-ptdc.html) and the now 50-year old "Scudorama" among others. 

Michelle Fleet with Jamie Rae Walker, Laura Halzack and Julie Tice. Photo by Paul B. Goode. 

For more information about PTDC and  “Le Sacre Du Printemps (The Rehearsal),” 

visit http://www.ptdc.org

It's Ailey Season In The City

Dance is a sort of go-to during the holidays. For some of us New Yorkers, it's Ailey Season.

The Alvin Ailey American Dance Theater, at New York City Center through December 30th, is a sort of alt-Nutrcracker-- not that there is anything wrong with the profusion of Nutcrackers around town.

The Alvin Ailey American Dance Theater company in "Revelations." Photo by Manny Herhandez. 

The uplifting, "Revelations," an Ailey-choreographed piece that has stopped the show all over the world since its creation in 1960, continues to be the crown-jewel of the AAADT.

Artisitic Director Emerita Judith Jamison in "Revelations" from the company archives.

 Going to church with Ailey is always a special privilege. At the performance we attended, the music was live, conducted by Nedra Olds-Neal, and the AAADT company was joined by Ailey II and Students of the Ailey School to make up a cast of 50.

Cast of 50 for "Revelations." Photo by Christopher Duggan.

Ailey's dancers are among those who can be entrusted to do justice to the Paul Taylor cannon. Indeed, Taylor directed them when they introduced his "Arden Court" to the repertory last season. AAADT's style meshes well with the work.

AAADT in Paul Taylor's "Arden Court." Photo by Paul Kolnik.

The pomp and circumstance of the music by William Boyce has a processional grace. The dancing is at once majestic and down-to-earth. The muscularity of motion is fluid and easy. For Taylor, dance is play for adults.

AAADT's rendering of "Arden Court" is joyful and fun. 

Robert Battle, who took over as the third Artistic Director in AAADT's history in 2011 from Judith Jamison,

does not want his choreography to dominate the repertory. His "Takedeme" offered a brief (at just 5 minutes) but powerful and amusing addition to AAADT programming.

Yannick Lebrun makes a leap in Robert Battle's "Takedeme" seem so easy.  Photo by Andrew Eccles.

 The score, "Speaking in Tongues II" by Sheila Chandra, scolds in jibberish. The dance is complex, based on Indian Kathak, and the dancer, Yanick Lebrun moved muscles he could not possibly have had in isolation.

The afternoon's highlight, however, was Garth Fagan's "From Before," (1978) which enters AAADT repertory as a company premiere this season. Set to "Path" by Trinindadian composer, Ralph MacDonald, the dance starts out with African inflections, moves on to the Caribbean, and from there becomes jazzy. The Fagan-costumed cast in silken unitards, their bodies sleek in vivid colors. The steps are as lively as the vibrant melodies and rhythms that accompany the movement.

AAADT in Garth Fagan's "From Before." Photo by Paul Kolnik. 

For more information about Alvin Ailey American Dance Theater, and a schedule of programming, visit http://www.alvinailey.org/citycenter 

"Ghost..." Haunts A Broadway Stage

Who knew blockbuster was spelled G_h_o_s_t?

Caissie Levy as Molly Jensen and cast in “Ghost the Musical.” Photo © Joan Marcus.

Bruce Joel Rubin (book & lyrics) has adapted his Academy Award winning film into "Ghost the Musical," in the Lunt-Fontaine Theatre for what may prove to be a very long run. (See videos from the show at www.ghostonbroadway.com.)

Caissie Levy as Molly Jensen, Richard Fleeshman as Sam Wheat and Bryce Pinkham as Carl Bruner in “Ghost the Musical.” Photo © Joan Marcus.

"Ghost the Musical" merges the cinematic with the dramatic into a spectacular spindrift of song, dance and romance. Matthew Warchus helms a musical play with many moving parts all of which contribute to the atmosphere of other-worldly excitement. The visual tricks (Illusions by Paul Kieve and Video & Projections by Jon Driscoll in a prodcution designed by Rob Howell) will convince the greatest cynic that there are ghosts among us. Ashley Wallen's dynamic choreography, with additional movement sequences by Liam Steel keep up the pace and tension in "Ghost the Musical" even for those of us who have seen the iconic movie.

Da”Vine Joy Randolph as Oda Mae Brown, Richard Fleeshman as Sam Wheat and Jeremy Davis as a Bank Officer in “Ghost the Musical.” Photo © Joan Marcus.

Like the movie's plot, "Ghost the Musical" is a simple romantic fantasy. After he is murdered in what looks like a street robbery gone bad, Sam Wheat (Richard Fleeshman) can find no peace until he makes an honest psychic out of the con woman Oda Mae Brown (Da'Vine Joy Randolph). In "Ghost the Musical," Sam comes to rely on Oda Mae to keep his girlfriend, Molly Jensen (Caissie Levy) out of harm's way and to avenge his untimely death. Whoopi Goldberg's fans won't be disappointed in Randolph's sassy Oda Mae, who turns out to have a gift for leading souls to their rest. Randolph is a triple threat star, acting, singing and dancing; her Oda Mae has swagger and vulnerability as she reluctantly befriends Sam's ghost.

Da”Vine Joy Randolph as Oda Mae Brown and cast in “Ghost the Musical.” Photo © Joan Marcus.

Fleeshman develops his character well showing first Sam's bewilderment at what has happened to him, and then his tenacity at making things right. Carl Bruner (Bryce Pinkham), Sam's colleague who hits on Molly a little too soon, is swarmy and appropriately a little creepy. Levy and Fleeshman are pretty to watch adding the heat to this love story.

Caissie Levy as Molly Jensen and Richard Fleeshman as Sam Wheat at the pottery wheel in “Ghost the Musical.” Photo © Joan Marcus.

Even the technical glitch that held up the conclusion in act two at the preview performance this reviewer attended kept everyone in their seats. It was taken as a time to talk amongst ourselves and wait patiently. Please visit www.ghostonbroadway.com for tickets and to learn more about the show.

PTDC dances on but only through April 1st

Promethan Fire. Photo by Lois Greenfield

Missing spring with the Paul Taylor Dance Company is a little like not getting to see the blossoms in Central Park. There is always much to celebrate as PTDC brings spring to New York City. This year, it was the 50th anniversary of the seminal Taylor dance-piece "Aureole."

As you probably know, the Company moved to the David H. Koch Theatre at Lincoln Center and will be there through April 1. Here are some highlights from the NYC season:
"Syzygy" , defined in the program notes as "the configuration of three or more celestial bodies in a gravitational system," has a lot of verve. The party on stage frugs like it's 1987 as Michelle Fleet demurely balances on one leg, pointing the other as she twirls. Ms. Fleet then proves she can really cut loose as the syncopated music composed by Donald York for the dance piece. PTDC's "celestial bodies" glide and jump with ease, push and pull at each other, rise and fall and rise again.

"Company B" is a personal favorite, and at its absolute best when performed by any of the PTDC groups.

Rum and Coca-Cola from “Company B” performed by Taylor 2. Photo by Tom Caravaglia

Set during WWII, "Company B" to songs sung by The Andrews Sisters, gives us snippets from the homefront, with an occasional backdrop frieze depicting the warzone. It remains a light and airy paen to a bygone Americana despite these reminders that boys die in wars. James Samson's goofy Johnny is particularly endearing in "Oh Johnny, Oh Johnny, Oh!" and Eran Bugge is wonderfully seductive in "Rum and Coca-Cola."

"Gossamer Gallants" enjoyed a New York City premiere (as did "The Uncommitted," -- see review on this site at "A Gala To Launch PTDC's Spring") or rather, New York City enjoyed it. "Gossamer Gallants" is an extremely funny look at the battle of the sexes. The "gallants" in question, wonderfully costumed by Santo Loquasto, are insects, whose "gossamer" wings flutter as the girl insects, clad in light green one-piece capris, came by. Ultimately, they are menaced and oppressed by the females they started out chasing. The females wiggle invitingly from their bottoms to their antenae, until the boys, and the audience, are enthralled.

The tango-esque "Piazzolla Caldera" is another treat from the canon. The dancers' posture framed for the rigorous demands of the tango, their steps forceful and assured, yet the choreography only emulates the Spanish dance but in a totally soul-satisfying way.

For more information about the Spring Season of PTDC, visit the David H. Koch events page or go to www.ptdc.org/nyc.

A Gala To Launch PTDC's Spring

Photo from Company B by Tom Caravaglia

It's always exhilirating to watch Paul Taylor's dancers going through their paces. The Paul Taylor Dance Company, even as it enters its fifty-fifth year, has that proverbial spring in their step. Propulsive dancing, and energetic movement is a signature of the PTDC style which now has 136 pieces in its repertory.

Aureole-- called "the white ballet" because of the stark costuming. Photo by Paul B Goode

This year PTDC is celebrating its debut at a new home at Lincoln Center's David H. Koch Theatre where it will perform through April 1st, and the 50th anniversary of "Aureole." It was on the program along with "Mercuric Tidings" from 1982 and the New York premiere of "The Uncommitted" for their Gala on March 15th.

"Aureole" was Paul Taylor's first great success, and a kind of blueprint for all the fun he would have in dancing and dance making. Its simple and stark costumes, all in white, (by George Tacet) belie the complexity of the piece. Set to excerpts by George Frederic Handel, "Aureole" offers the male soloist, Michael Trusnovec on this occasion, making the difficult executions seem deceptively easy and playful.

By the way, it is part of Paul Taylor's modus of creation to make expert and complicated moves seem merely playful. In "Aureole" he laid the groundwork for elements intrisic to his work, enfolding the balletic and classical into a modern dance. "Aureole" also overflows with irrepresible joy.

Joining the dancers, Mr. Trusnovec, Amy Young, Michelle Fleet, Francisco Graciano, and Heater McGinley, for bows after the "Aureole" performance, were their counterparts from the original cast, which included Elizabeth Walton and of course Paul Taylor, who had chosen the dance as his final performance in 1974.

Mercuric Tidings. Costumes by Santo Loquasto. Photo by Tom Caravaglia

Paul Taylor's Mercuric Tidings has the dancers leaping languidly into minuets, to music by Franz Schubert excerpted from the first and second Symphonies.

In the opening segment of the commissioned "The Uncommitted," solo dancers are substituted, each appearing from the cast of eleven, almost miraculously out of a rushing crowd. That crowd twirls in elegantly to replace each other for their solos while the curtains billow behind them--could these be the winds of change? Partnering in "The Uncommitted" doesn't seem joyous or celebratory. Movements are sometimes almost feral, occassionally submissive, at times aggressive. At one point a pair of dancers wrestle nastily while the scene behind them devolves into a brawl.

It is a decidely beautiful work, created in honor of PTDC Manager from 1962-68 Charles C. Reinhart, who was also the Director of the American Dance Festival from 1968 to 2011.

For a schedule of the programs in PTDC's spring season, visit www.ptdc.org. Tickets are available in person at the David H. Koch box office.

The Weekend Report

Those of us lucky enough to have a weekend, don't have Daniel for a boss.

Rich, powerful, charismatic and abusive, Daniel is an off-stage presence in "Assistance," at Playwrights Horizons through March 11. Daniel is unseen and unheard-- calling in to his minions from London and Tokyo.

Vince's (Lucas Near-Verbrugghe), Nick's (Michael Esper) and Nora's (Virginia Kull) reactions are the witness to his rants against their incompetence and grammatical failings. Meltdowns are legion as are firings.

Virginia Kull as Nora with Amy Rosoff as Jenny in background. Photo © Joan Marcus

Leslye Headland's paean to the working classes. Well to those enthrall to the great wealth and financial success of ogreish moguls.

Lucas Near-Verbrugghe as Vince and Michael Esper as Nick. Photo © Joan Marcus

Serving a petty tyrant is a choice for these young people. Jenny (Amy Rosoff) is thrilled at the chance to work more closely with Daniel, for instance. The hapless Heather (Sue Jean Kim), on the other hand, chooses her uncle's funeral over an assignment in Chicago, with seemingly dire consequences for her.

Sue Jean Kim as Heather. Photo © Joan Marcus

Bobby Steggert's Justin has a short but convincing stint on stage, demonstrating just how far around the bend the Daniels of this world can take their proteges.

The players in "Assistance" under Trip Cullman's deft direction are all splendid. In the surprise coda to "Assistance," Amy Rosoff exhibits outstanding and completely unexpected talents.

The assistants in "Assistance" might benefit from a workplace drug like the one in Kate Fodor's "Rx." (See commentary on "Rx.")

Visit www.playwrightshorizons.org for a schedule of performances. Over at the glassworks, power also wrests in the master's hands.

In "Rutherford & Son," at The Mint Theater Company through April 8th, playwright Githa Sowerby captured the tone and cadence of a miserable rural life, both in John Rutherford's (Robert Hogan) home and his factory. He has sacrificed his children's happiness to respectability and financial success.

See video

Rutherford & Son at the Mint Theater from Mint Theater Company on Vimeo.

It's easy to see why "Rutherford & Son" was a sensation when it had its premiere at London's Royal Court Theatre in 1912 and then again a few months later when it opened on Broadway. Githa Sowerby understood not only the mores of a small town but also the ebb and flow of business.

David Van Pelt as Martin and Sara Surrey as Janet. Photo © Richard Termine

The fine cast under Jonathan Bank's sure-handed direction also understand the rhythms of this old-fashioned but very modern play. Sara Surrey particularly stands out as John Rutherford's embittered spinster daughter, Janet, and Eli James is exceptional as his thwarted and feckless son, John.

For more information and a schedule of performances, please visit www.minttheater.org.

Working it in a completely different way were the guitarists (and their ensembles) Doug Wamble and Nino Joselle in Jazz Meets Flamenco at JALC's Allen Room on February 24th and 25th, with two remarkable dancers, Jason Samuel Smith representing the jazz-tap side and Juan De Juan onboard to represent Flamenco.

See pictures from the show here.

Jazz at Lincoln Center invited the two guitarists to showcase their flamenco sensibilities. Doug Wamble rose to the occasion with a composition for reeds (John Ellis), bass (Eric Revis), drums (Rudy Royston) and most importantly tap (Jason Samuel Smith.) "The Traveler" is a song cycle, performed by Mr. Wamble and his ensemble, and punctuated by very fancy footwork by Mr. Smith.

The Flamenco side of the program, represented by the incredible and fierce Juan De Juan, dancing to the music performed by Mr. Joselle and his bassist (John Benitez) and percussionist (Horatio "El Negro" Hernandez) won the dance off despite Mr. Smith's accomplished performance. Juan De Juan accomplishes the seemingly impossible in his Flamenco interpretations.

The special treat here was watching Jason Samuel Smith and Juan De Juan together for the finale of the program.

For more information about Jazz At Lincoln Center programs, visit www.jalc.org. The Flamenco Festival 2012 in New York City continues this month with, among other venues, performances at New York City. Visit www.nycitycenter.org for more information.