The New York City Ballet has launched a new performance unit, New York City Ballet Moves, which will bring dancers from the NYCB to the stage of McCarter Theatre for the first time ever! This new company is designed to showcase NYCB dancers and repertoire in new venues. The participants will include both principal dancers and soloists from the company as well as corps de ballet members in program drawn from the NYCB repertoire which includes works by choreographers including Balanchine, Robbins, Christopher Wheeldon, and Peter Martins (NYCB’s Ballet Master in Chief), and all performed to live music. This promises to be a historic night in the history of dance at McCarter!
Polyphonia (Christopher Wheeldon)
Duo Concertant (George Balanchine)
In the Night (Jerome Robbins)
A Fool for You (Peter Martins)
The all-star line-up of dancers scheduled to perform at McCarter will feature virtually the entire roster of NYCB Principal Dancers including Tyler Angle, Megan Fairchild, Robert Fairchild, Sara Mearns, Tiler Peck, Amar Ramasar, Jonathan Strafford, Janie Taylor, Daniel Ulbricht, Andrew Vayette, and Wendy Whelan.
All performed to live music.
“A sex comedy… What makes this preposterous jape so satisfying is the dance vocabulary Taylor has invented for it…it’s a keeper. – Robert Gottlieb, New York Observer
“A veritable hoot. In this raucous, highly satirical dance… initially the women seem alluring, even cute, but their bobbing antennas belie how fierce they are.” – Gia Kourlas, New York Times
explores one of Taylor's favorite metaphors, that we are all just bugs in a bugged-out universe. The comic work unleashes insect gender-warfare with funny visual jokes… I found it irresistible the way Taylor sends his female contingent, in neon-green bug suits, wiggling 'cross the stage, hands tucked pertly on hips. Even thinking about it makes me laugh.” – Debra Levine, Huffington Post, March 21, 2012
“When it comes to peeling away the surface of a relationship to expose its defects — or that especially aggressive point where tension turns to hostility —Paul Taylor has a way of ripping off the bandage. Through his dances he reveals the meat of the human condition, and he likes it raw.” – Gia Kourlas, New York Times
“Here are people who cannot connect, cannot communicate, cannot … commit. This beautifully composed piece... makes itself felt.” – Robert Gottlieb, New York Observer
“Danced for the sheer joy of it, the controlled expenditure of animal energy, poetry expressed as a time and motion of study, young people cavorting with the kinetic propensities of young godlets.” – Clive Barnes, New York Post