When it comes to Brian Brooks Moving Company, endurance is an understatement. In the opening of the Joyce’s Gotham Dance Festival, the company commanded attention with smooth, seamless movement and an ability to take and give weight with ease. In its New York premiere, the company’s most recent work Big City mirrored the constant…
In 2008, American Ballet Theater star, Ángel Corella , stepped beyond the role of dancer and added Artistic Director to his resume. Now four years later, Barcelona Ballet (formerly Corella Ballet) will gain Corella’s full-time devotion when he retires from his principal role at ABT at the end of this season.
In its second visit to New York City Center, the newly renamed company looked to merge the worlds of classical ballet and traditional Spanish dance in the world premiere of Pálpito (Spanish for “hunch”). A lengthy program note tells us of “a main character who is trying to free himself from the strings that have bound him to his former role of a dancer,” naturally played by Corella who will say goodbye to American Ballet Theatre this June. But before the ballet begins, I can’t help but to worry how the dramatically written synopsis will unfurl onstage.
When you spend the evening with Camille A. Brown, you leave feeling that you are one of her closest friends.
The effect boggles me. Brown’s compositions seduce you into their center, as if you stumbled into the middle of a complex family history or an intimate conversation you were not fully prepared for. Brown is an honest mover, who carries in her dancing body her own journey, which means she bears all. She hides no idiosyncrasies, but rather delves into her uniqueness to find its source. She cultivates in her dancers truer versions of themselves so that even as they do her movement, they are set apart. Placed in an environment of socially conscious choreography that often allows performers freedom of theatricality, Brown’s combination of concept and execution is striking.