Friends in High Places

It's that time of year again - time for the big work event that I produce and angst over for days, weeks and months beforehand.  I'm ever so glad it's over, but at least it went well.  I think all of our recipients enjoyed themselves and everyone gave such beautiful speeches, it was magical.  We had it at a new venue this year which worked out wonderfully well.  I heard from a few people that this one was their favorite evening of recent memory, so that was gratifying.  And I got a couple of good holiday-card-worthy photos, which I'll put down at the bottom.  I was especially grateful, after listening to everyone's touching remarks, to work in a community with so much respect and generosity, not only for all the people, but for everyone's projects as well.  It was a true night of celebration and I'm happy to have been a part of it.  I'm also happy it's over for another year.  I'm so tired, I can hardly see straight.  I hope what follows isn't too unintelligible...

The following night, I was privileged to be invited to the final dress of Doug Wright's new play Posterity, playing at the Atlantic Theater Company.  Normally, I don't like to make plans for the night after the big work event, but I made an exception here.  I love Doug Wright and I love his writing; I Am My Own Wife was a stunning experience for me.  Since I saw basically a dress rehearsal, I'm not going to say anything, really.  I'll just express my gratitude for being allowed to be there, and I'll also say that everyone should GO.  Here is the desciption of the play from the Atlantic's website:  Norway’s most celebrated sculptor is hired to create the last official bust of its most famous writer, but Henrik Ibsen proves to be an irascible, contentious sitter, as the two men wage war over both his legacy and his likeness. With his inimitable wit and insight, Doug Wright explores the nature of artistic success and the fear of being forgotten.  I think if you've read enough of my blog, you know that Posterity is completely in my wheelhouse.  A play about art, artists, success/failure and Ibsen?  I'm IN.  :)  I'm sure there's work still to be done before the show opens, but I can't state strongly enough I think you should go.  I'm going back, for sure.

I also got a kind invitation to see New York Theatre Ballet last week - a handsome friend used to dance with the company and he generously invited me to be his guest at a performance of their "Legend and Visionaries" program.  The first act had three short pieces, two of which were new, one by Merce Cunningham, and the second act was their Alice in Wonderland Follies, which the company has been performing since 2001.  This was my first time seeing New York Theatre Ballet and I enjoyed watching them very much.  It was crazy to be in such a small theater space and see so much 'big' dancing.  The company is filled with terrific dancers and they were all used extremely well throughout.

The first piece, Double Andante, was a new work, choreographed by Pam Tanowitz.  It's an ever-moving jigsaw puzzle of intricate footwork, turns and angular arm movements.  I thought it was a very interesting piece, danced to a Beethoven sonata.  The movement was all very quick, but never frantic, and it showed the dancers off very well.  It was a nice beginning to the evening.

The second piece was the Merce Cunningham, Cross Currents.  I've seen clips of Cunningham's work on tv before, but I've never seen one of his pieces danced live.  I thought this was a very intriguing piece, with three dancers, two women and one man, apparently created for himself and two other dancers in 1964.  I thought it was interesting how they all used some of the same choreographic language in different ways - there were moments of arabesque with legs pointed in different directions,  there were travels along a diagonal that happened with different timings.  The shapes created in the choreography were very detailed, even with only three dancers.  I will say that the music, "Rhythm Studies for Player Piano" was a little too loud and jangly for my tastes and though it went with the dance style, my ear wanted to tune out.  But that's probably just me.

photo credit: Andrea Mohin

The third piece was also new - There, and Back Again, choreographed by Nicolo Fonte.  This piece was very surreal and dramatic, with one of the four dancers onstage wearing a mask at different times throughout, and watching the different duets, trios and quartets move their way around the stage with each other and apart from each other.  I was very pulled into the story they were telling and I would definitely enjoy seeing this piece again.

After the intermission, we were treated to the Alice in Wonderland Follies, which is just a delightully joyous interpretation of the Alice stories.  It's done as a type of vaudeville, performed in a music hall in the early 20th centuray.  The music is all popular music from the era.  The first time we saw Alice was very cleverly done, using a tiny doll house and a tea cup.  There's a lot of comedy and pastiche, mixed in with lovely ballet choreography.  The piece was terrifically danced by the large company and it seemed they were all having as much fun as we were.  The costumes were also fantastic - I especially loved The Teacups and the Duchess, Cook and the Baby (who was an adorable youngster from NYTB's school).  I had a smile on my face throughout and I'm only sorry I saw the show at the next-to-last performance - I would've loved to have gone back with my goddaughters.  But I'll keep my eye on their schedule and try to see New York Theatre Ballet again.

I'm quite the fortunate girl to have so many friends who can offer me tickets to such unique offerings around town, and also to work in an office where I can meet and mingle with so many fantastic people.  They always make me feel grateful and inspired - especially inspired to 'pay it forward' whenever I can...

photo credit: Douglas Gorenstein

photo credit: Douglas Gorenstein

photo credit: Douglas Gorenstein