Oberon's Grove

SALOME @ Carnegie Hall

Thursday May 24, 2012 - This concert performance of Richard Strauss' SALOME by the Cleveland Orchestra under the baton of Franz Welser-Most has been on my calendar for months. Photo of the conductor above by Roger Mastroianni.  The maestro and his musicians gave a spine-tingling account of this most dazzlingly colourful of operatic scores. From the massive onslaughts of ominous themes predicting the opera's brutal outcome to the shimmering delicacy of filagree harp or the sensuous spinning of mid-East exotica in the winds, SALOME has never sounded better. The great sway and sweep of the Dance of the Seven Veils was enthralling, and the maestro's fingertip control of dynamics helped soprano Nina Stemme turn the arduous final scene into a personal triumph.

One unfortunate aspect of the presentation though was that the singers were seated on raised platforms along the outer walls of the stage. This meant that for 1/3 of the audience in the hall's upper reaches, the protagonists were simply not visible. We had a great view of the Nazarenes, Jews and Soldiers but had nary a glimpse of Ms. Stemme all evening. It seems like presenters are always trying to do something clever when giving an opera in concert form; it's best just to line the singers up across the front of the stage and let 'em rip.

Nina Stemme scored a huge success in the title-role. I've had a great run of Salomes in my years of opera-going: Rysanek, Bumbry, Niska, Marton, Behrens, Malfitano, Mattila. Ms. Stemme's final scene was on a par with the finest of these, though earlier in the opera the tone was a bit edgy, not always in focus, and some top notes were a shade flat. There's also not a lot of sheer beauty in the Stemme timbre although - like the immortal Behrens - she can persuade you through vocal colouring that certain notes are disturbingly lovely. But any misgivings were swept clean away by the power and expressivity of her vocalism in the opera's magnificent closing pages. 

Eric Owens sang with powerful commitment as Jochanaan. His tone has a somewhat covered, throaty quality and in a few spots the force of the orchestra almost overwhelmed him. He stayed the course and was clearly well-liked by the audience.  Rudolf Schasching sang with cutting power and verbal subtlety as Herod and Jane Henschel made the most of every phrase of Herodias's neurotic music: these two singers contibuted much to the evening's success. Jennifer Johnson Cano, a Met Rhinemaiden, sang with seductive, darkish appeal as the Page, and Garrett Sorenson was a strong Narraboth. Oddly, Mr. Sorenson remained onstage after his character's suicide and was still there as Salome met her fate. Sturdy excellence from a trio of lower voices - Evan Boyer, Sam Hindley and Brian Keith Johnson - who doubled variously as Nazarenes and Soldiers. The Jews were a noisy, annoying lot but that's exactly what Strauss wanted.  

ABT BAYADERE: Seo/Muntagirov/Boylston

Wednesday May 23, 2012 - Tonight was the first of three BAYADEREs I'll be seeing at ABT. Although this evening's cast was devoid of top-tier stellar names, the evening turned out very nicely and my friend Kokyat enjoyed his first experience of watching the Kingdom of the Shades. Hee Seo, above, danced the role of Nikiya, with Isabella Boylston as Gamzatti and an ABT newcomer Vadim Muntagirov as Solor. 

Going to the ballet at The Met is not a particularly rewarding experience. The place is simply too huge and you feel detached from the action; even when I sit in the orchestra, the dancers seem miles away. Tonight we were in Balcony Row A which was fine until a group of young people snatched the seats behind us after the first intermission and were restless and whispery. We moved further back for the last act. Sadly, there were tons of empty seats on every level; the Family Circle was virtually empty.

There's also the distracting sound of toe shoes clomping on the Met stage. Mr. B made sure that this would not be a problem at His House, but at The Met - which was built to project sound from the stage - it sometimes sounds like horses are galloping around.

For all that, the performance succeeded in making a fine impression thanks to the work of the three principals and several fine individual contributions among the smaller roles. Hee Seo was a beautiful Nikiya to behold, her dancing was lyrical and devoid of theatricality. It's a long and demanding role and the ballerina maintained her dramatic focus and her refined musicality throughout, leaving us with several luminous images.

Vadim Muntagirov (above, photo by Sian Trenbeth) is a slender, elegant danseur with a lovely technical polish. His airy leaps and swift footwork held the opera glasses in place throughout his variations, with deep backbends in the concluding poses making an especially fine impression. He and Ms. Seo created a dreamy partnership as their adagio unfolded.

Isabella Boylston (above) was Gamzatti. I overheard someone refer to the character as an 'evil princess', but is she really evil? Like Amneris in Verdi's AIDA, she's entitled - she's used to having her way. And, it should be pointed out, Nikiya tries to kill her first. Yes, the snake in the basket thing is cruel but you have to admire Gamzatti's inventiveness. At any rate, Ms. Boylston was excellent both in her dancing and presentation of the character; in the third act especially her pirouettes were radiant. I look forward to her upcoming Odette/Odile.

Craig Salstein was the Bronze Idol. His technical clarity and vivid delineation of this short but demanding role save me having to publish a disclaimer: he's one of my opera buddies. I know he's always thrilled to be on the stage where Tebaldi and Corelli sangs their hearts out. Bravo, Craig! Dancing two roles, including the third solo varation in Kingdom of the Shades, Simone Messmer is one of the most captivating dancers I've ever encountered. Technique and presence are abundant, but Simone also has an intangible quality that sets her apart. And it was fun picking out dancers we've met in other contexts: people like Sean Stewart, Eric Tamm, Nicola Curry and Puanani Brown.

Yes, parts of BAYADERE - including much of Act I - are hokey. But once Solor takes up the hookah, we know we're about to be transported to that elusive Kingdom of the Shades. It's an experience that always makes ballet-going worthwhile.

Cedar Lake @ The Joyce: Program B

Tuesday May 22, 2012 - Three works, all of them new to New York City, held the stage as Cedar Lake Contemporary Ballet started their second week at The Joyce. Above, an image of the Company in Simply Marvel by Regina van Berkel.

On a stage illuminated by huge hanging parchment-shaded lamps, Ms. van Berkel's work commences with a solo danced by Oscar Ramos; the music, for solo piano, is ultra-slow and so is the movement. The dancers arrive one-by-one, the women in stylized tutus and toe shoes. Sculptural formations assemble and dissolve in this slow-motion universe.

The mood then shifts to a brighter, more animated vision as solo violin music by Nicolo Paganini sets off the three women - Acacia Schachte, Ebony Williams and Soojin Choi - in a series of on-pointe vignettes, partnered by the men. Quirky, witty and jagged, the work maintains an odd sense of formality thanks to the music. Impressive dancing from the entire cast brought the work to a close, signaling the first of many ovations during the evening.

Halfway thru the intermission, the curtain rose on the stagehands preparing for the second work: Tuplet by Alexander Ekman. As the crew busy themselves setting up, Harumi Terayama stands alone in an illuminated square, gesticulating rapidly or conducting an imaginary orchestra. As the house lights dim, five other dancers take up their own squares.

After an introductory sequence, the work's highlight comes with a solo brilliantly danced in silhouette by Jon Bond which he - one of Gotham's most incredible dancers - delivered with astonishing clarity and power. Throughout this ballet, the sounds of the dancers' movements - and even of their breathing - mesh with the musical score to create a personalized soundscape.

The audience went wild after a wonderfully inventive passage in which the six dancers lined up across the front of the stage and danced to the sounds of their own names being spoken. This tour de force was so perfectly delivered by the dancers. Performing in Tuplet, in addition to Harumi and Jon, were Jubal Battisti, Oscar Ramos, Joaquim de Santana and Ebony Williams: an all-star cast.

In the closing work, Necessity, Again by Jo Stromgren (World Premiere) the stage is strewn with sheets of paper; pages hang from clotheslines strung above the space, and periodically the dancers bring in more and more sheaves of pages; occassionally someone flings a fistful of papers into the air. In this messy, cluttered setting the dancers appear alternately bored, bemused or borderline manic. There is a stylized rape scene and at one point the dancers strip down to their underwear (some people go to Cedar Lake just for the bodies). Meanwhile an annoying voice lectures on the meaning of 'necessity'; this is offset by a series of Charles Aznavour songs. Somehow out of this chaos a dancework is built, and - thanks to the individuality and dramatic capacities of the Cedar Lake dancers - it becomes a necessity to watch.

The audience - including danceworld luminaries Miki Orihara, Stephen Pier, David Hallberg and Larry Keigwin - gave the Cedar Lakers a rousing reception at the end of the evening.

Lydia Johnson Dance: Rehearsing SUMMER HOUSE

A gallery of Kokyat's images from a rehearsal of Lydia Johnson's SUMMER HOUSE. Read about this rehearsal here. Above: Reed Luplau (a guest dancer from Lar Lubovitch Dance Company) and Jessica Sand. In this dancework, set to some of Philip Glass's most haunting music, a man and three women reflect upon a Summer spent together in a small house. The exact relationships between the four people are never stated; visions of their desires, dreams and disappointments suffuse the work with an Autumnal sadness as they prepare to move on from the time they have shared.

Click on each image to enlarge:

Reed Luplau

Lisa Iannacito McBride, Jessica Sand

All images by Kokyat.

Lydia Johnson Dance: Rehearsal

Sunday May 21, 2012 - On this beautiful, sunny day Kokyat and I climbed the many steps to Battery Dance Studio where Lydia Johnson was rehearsing with her dancers for their upcoming performances at Peridance, June 23rd & 24th, 2012. Lydia will be showing a new work to music of J S Bach, a darkly luminous female ensemble work to music of Osvaldo Golijov, a revival of her 2006 FALLING OUT, and a poignant domestic quartet entitled SUMMER HOUSE. Both FALLING OUT and SUMMER HOUSE are set to music of Philip Glass. In the photo at the top, dancers Lisa Iannacito McBride and Kaitlin Accetta.

For her June performances, Lydia has inviited two guest dancers from the Lar Lubovitch Dance Company: Attila Joey Csiki (above)....

...and Reed Luplau (above); Reed will be dancing in both the new Bach work and in SUMMER HOUSE. These two dancers, steeped in the Lubovitch style, look perfect in Lydia's lyrically expressive choreography.

The rehearsal was underway when we arrived: working on the new Bach piece which is basically all mapped out but still open to editing or embellishment. Lydia works from instinct; she is likely to put refining touches on her work right up til curtain time. Her dancers are all accomplished performers who are able to find the nuances in the movement that make the choreography looks its best.

Here are some of Kokyat's images from today's rehearsal of the Bach:

Lisa Iannacito McBride & Attila Joey Csiki

Katie Martin, Lisa Iannacito McBride, Jessica Sand

Min-Seon Kim & Blake Hennessy-York

Kaitlin Accetta, Lisa Iannacito McBride

Sarah Pon, Blake Hennessy-York

Reed Luplau, Attila Joey Csiki & Sarah Pon

Attila & Blake

Katie Martin

Reed Luplau

Sarah & Blake

Attila & Lisa

Images from the rehearsal of SUMMER HOUSE appear here.

All photography by Kokyat.

In the Studio with Keigwin & Co

Wednesday May 16, 2012 - Stopped in at DANY studios at noon today where Larry Keigwin and his dancers were rehearsing passages from his new psychotic ballet TWELVE CHAIRS for their upcoming season at The Joyce, June 12th - 17th. Photographer Brian Krontz was there to snap some images of this dancework which is structurally complete and now in the cleaning and tweaking phase.

Click on each image to enlarge.

TWELVE CHAIRS is set to a dynamic score by Jonathan Pratt. The dancers, each manifesting signs of his or her pet psychosis, cling to their chairs as to security blankets. The movement seems random but is actually carefully designed so that while many things appear to be happening at once, the work is cohesive. The territorial dancers observe one another furtively but remain disconnected; forced to switch seats, they rush to establish themselves in a new space.

Here are some of the individual dancers of Keigwin & Co:

Justin Dominic

Jaclyn Walsh

Brandon Cournay

Aaron Carr

Ariel Freedman

Ashley Browne

Gary Schaufeld

Larry Keigwin. currently booted, gives his dancers some notes after a run-thru.

For their Joyce season, Keigwin & Co present four works: premieres of TWELVE CHAIRS and a men's quartet entitled CONTACT SPORT, set to the singing of Eartha Kitt. The 2011 BALLOON DANCE (re-staged as TRIO) and the ensemble piece MEGALOPOLIS (2009) complete the programme.

All photography by Brian Krontz.

Martins & Balanchine @ New York City Ballet

Above: Taylor Stanley of New York City Ballet photographed by Matt Murphy.

SATURDAY MAY 19, 2012 evening - There were several reasons to be at New York City Ballet this evening, beyond the usual reasons. It was my first chance to see the most recent Peter Martins ballet, and to see the new costumes for SYMPHONY IN C. And there was a whole slew of debuts in LIEBESLIEDER.   

Here is the programme listing:

MES OISEAUX (New Martins Ballet): Stanley, Lovette, Isaacs, Kretzschmar    

LIEBESLIEDER WALTZER: Kowroski, *Hyltin, *T. Peck, *M. Fairchild, J. Stafford, *R. Fairchild, J. Peck, *Finlay

SYMPHONY IN C: First Movement: A. Stafford, Veyette; Second Movement: Kowroski, T. Angle; Third Movement: Bouder, De Luz; Fourth Movement: *Pereira, Suozzi 

Following the debacle of OCEAN'S KINGDOM, there were plenty of people who felt Peter Martins had reached a low point in his choreographic endeavors. Myself, I tend to blame all the misery of KINGDOM on a certain Beatle. But that's ancient history now and hopefully it'll never be revived (though you certainly can't count on that). Peter's latest creation is a ballet for one man and three women entitled MES OISEAUX ("My Birds"). I'll go against the popular grain and say I liked it a lot...for several reasons: the main one being, it isn't cute. When I saw the title, I imagined a fluffy little ballet with all manner of birdlike flutterings and feathered headpieces. Nothing of the kind. It's a serious and somewhat dark piece without a feather in sight.

The score by Marc-Andre Dalbavie held a particular attraction for me. Superbly played from the pit by Kurt Nikkanen (violin), Ann Kim (cello) and Cameron Grant (piano) the music buzzes and tweaks the ear; in one extended passage, the musicians continually trill on various over-lapping pitches. There's a restless impulse, and this sets up the speedy comings and goings of the dance. The ballet also benefited from impressive lighting, with intersecting paths of glowing white and the dancers stepping from one illuminated pool to another.

In sleek black body tights, Taylor Stanley takes command of this ballet with his powerful yet graceful technique and his charismatic presence. The choreographer asks a great deal of the young dancer and Taylor delivers with complete assurance. In spacious combinations he covers the stage; at one point there is even a break-dance reference which Taylor nails vividly. There's also a ton of partnering, most of it fast-paced as he moves from one of his oiseaux to the next. It's a demanding ballet and Taylor made a distinctive impression, warmly hailed by the audience in his solo bow. 

Three young ballerinas seized their moment here: Lauren Lovette, Ashly Isaacs and Claire Kretzschmar had ample opportunity to show off speed, agility and line, and they all came up winners. Lauren and Ashly are are familiar to regular NYCB-goers through their previous stepping-out roles: both are already beyond the 'promising' stage, showing poise of technique and the kind of individuality that augurs well for future possibilities. Someone told me I was going to love Ms. Kretzschmar and they were right: the long-limbed ballerina - who reminds me a bit of Michele Wiles physically - is a dancer I'll now be on the lookout for.

My second consecutive LIEBESLIEDER proved that you can never get enough of a good thing. Several dancers were taking on their roles in this ballet for the first time while the radiant Maria Kowroski and her noble beau Jonathan Stafford held sway over the ballroom like benign monarchs. Justin Peck was the only other dancer who'd been in this salon before and he was superb and had a superb ballerina on his arm: Tiler Peck. Tiler was simply astounding: her performances go from strength to strength and tonight her lovely, speedy pirouettes with arms crossed over her breast put me in mind of my beloved Miranda Weese. Both here and the prevous evening in BRAHMS-SCHOENBERG, the Peck duo were a joy to behold. Youthful beauty and romance were embodied by the delicious Sterling Hyltin and her ardent esquire, Robert Fairchild. Holding onto illusions from their celebrated portrayals of Juliet and Romeo, Sterling and Rob kept the flame of ardor burning just below the surface of the ballet's courtly manners.

In a vastly pleasing partnership, I thought Megan Fairchild and Chase Finlay were particularly wonderful together tonight. Chase was in his element, dashing and vividly expressive - the role seemed tailor-made for him - and Megan was ideal, finding just the perfect balance between girlishness and blossoming womanhood. Their dancing was impeccable, playful, tender and thoroughly engrossing. They seemed to have a special rapport, making me hope see them cast together again often in the future.    

This season the New York City Ballet have unveiled new costumes (above), created in collaboration with Swarovski, for the Balanchine masterpiece SYMPHONY IN C. Watch a video about the new designs here. I was never overly fond of the previous costuming for the women in this ballet; they were embellished with folds of creme-coloured ribbon which seemed to give the tutus a too-bouncy feel. This was my first time seeing the new costumes, and they're really elegant in my view. The diadems for the principal ballerinas are especially dazzling.

And it's so wonderful to have this ballet back onstage: along with SERENADE and FOUR TEMPERAMENTS, it should never be out of the repertoire. Abi Stafford's gracious and finely-expressed dancing set the ballet on its way in high style; Andrew Veyette was her cavalier, tossing off the role's myriad pirouettes with brilliance. A tiny partnering blip couldn't mar the splendour of the adagio danced by an imperial Maria Kowroski and Tyler Angle. Then Ashley Bouder and Joaquin de Luz came soaring onto the stage and gave us a joyous display of bravura dancing in the Allegro Vivace. Andrews Sill on the podium set the finale at break-neck speed - he eventually pulled back slightly - but the delightful Erica Pereira took it all in stride and made a charming impression in her debut, with the ever-excellent Sean Suozzi. 

A bevy of bejeweled demi-solistes were an endless attraction for the opera glasses tonight: Mlles. Muller, LeCrone, Arthurs (!), Laracey, Sell, Smith, Dronova and King made glittering magic, whilst among the men the un-announced Sam Greenberg stood out for his handsome smile and luxuriant line. We should see him more often, and in more prominent roles. 

At the end of this long evening, the audience stayed on to celebrate with a sustained ovation, calling the dancers out before the curtain four times.

Balanchine & Brahms @ NYC Ballet

Friday May 18, 2012 - George Balanchine created two masterpieces in the Romantic style to the music of Johannes Brahms (shown above): LIEBESLIEDER WALTZES and BRAHMS-SCHOENBERG QUARTET. Tonight New York City Ballet programmed the two ballets together, with some exciting role debuts giving the evening an added lustre.

To me, it seems a great honor for a dancer to be cast in LIEBESLIEDER; it's a ballet that calls for artistry which transcends technique. Tonight, three of the Company's most exquisite ballerinas - Maria Kowroski, Janie Taylor and Wendy Whelan - welcomed Ashley Bouder to their elegant salon. Among the handsomely tuxedoed gentlemen, Jonathan Stafford and Tyler Angle made debuts, joining Jared Angle and Sebastien Marcovici. The cumulative star-power of this ensemble gave the ballet a fresh glow.

Musically, all was well with Susan Walters and Andrews Sill at the keyboard and tenor Michael Slattery standing out for vocal clarity among the quartet of singers. Over the years LIEBESLIEDER has become more and more meaningful to me; I used to think the second half with the women on pointe was far more lovely than the first half, but now I've realized Balanchine was right (wasn't he always?) to arrange the ballet the way he did. It's now the first section that speaks to me most clearly.

Maria Kowroski's regal grace cast a spell over the ballet from the moment the curtain rose; she danced sublimely and was partnered by a very dapper Jonathan Stafford whose debut performance was ardent and sincere. Even when simply sitting still and watching others dance, Maria's presence radiated elegance and continually lured my opera glasses to her. 

In her vast catalog of ballets, LIEBESLIEDER must hold a special place for Wendy Whelan; she seems so thoroughly at home in this beautiful setting and the costumes show off her highly individual beauty to superb effect. Whether restless or becalmed, Wendy draws her character with haunting detail; images of her in this ballet linger long after the curtain comes down. She and her gallant cavalier Jared Angle were on peak form tonight, and I felt so fortunate to be observing them at close range (thanks to the NYCB press folks!).

Janie Taylor exudes the mystery and secret passions of the Romantic era simply by being. Few ballerinas in my experience have this innate gift for expressiveness that remains free of theatricality. The Taylor perfume was at its most distinctive tonight. Sebastien Marcovici seems to have stepped out of Romantic novel, with a trace of brooding intensity beneath his impeccably-groomed facade. Janie and Sebastien brought an engaging sense of tenderness to their duets tonight.

Ashley Bouder injected a touch of youthful impetuosity into the staid atmosphere of the ballroom; she looked gorgeous, like a 19th century portrait of a pretty girl on the verge of womanhood. Sweetly flirtatious at first, Ashley later captured the wistful quality in the music. Her dancing had the unique Bouder flair for feeling the music and responding to it in a personal way: always in the ballet's framework yet making the dance utterly her own. Tyler Angle's poetic expression and suave partnering made for a very auspicious debut for this danseur who goes from one perfection to the next.

In the ballet's second half, certain elements of the audience feel obliged to applaud the individual duets; I would much rather they remained silent. But at the end there was a long applause - rather decorous, without bravos or shouting - but clearly indicating that LIEBESLIEDER had again woven its spell.

Clothilde Otranto then took up the baton for BRAHMS-SCHOENBERG QUARTET, the first three movements of which call for ballerinas with a lushly lyrical quality; for the final Rondo, Romanticism gives way to boisterous bravura. 

Tonight I was especially keen to witness the B-S Q debuts of two ballerinas I adore: Rebecca Krohn and Ana Sophia Scheller. Rebecca was captivating: her dancing airy and poised, her musicality refined, her lovely face ever-expressive of the melodious beauties of the Brahms score. In her final solo passage - where we hear hints of the gypsy inflections that will dominate the ballet's final movement - Rebecca was in full flourish. Chase Finlay made a fine debut as her cavalier, his dancing fresh and clear. And a very tall young woman from the corps de ballet, Emily Kikta, savored a most impressive stepping-out opportunity with dancing that was large-scaled, spacious and swirlingly compelling.

Watching Ana Sophia Scheller taking up her position center stage to dance the ballet's heart-piercing Andante induced the first of many sighs that the ballerina drew from me in the course of her performance. Her technical assurance is breath-taking but it's the lustrous polish that she brings to her work that makes Ana's performances so intoxicating. Is a there a more handsome story-book prince in ballet these days than Gonzalo Garcia?  He and Ana have a perfect rapport as partners, and Gonzalo gave an exciting rendering of the ballet's demanding male solo. Overall they were so glorious to watch; when they finished, I wanted an encore.

Tiler Peck and Justin Peck were simply thrilling in the Intermezzo tonight; Tiler's astonishing technique is wedded to her artistry (which is at full bloom but which incredibly appears to be continuing to develop) in a way that makes her thrilling to watch. Justin has the strength and finesse as a partner - and his own charisma - to keep pace with this ballerina-paragon so that the dynamic of their mutual dance is so perfectly satisfying to behold.

Weaving thru the Intermezzo, three tall and bewitching beauties - Marika Anderson, Amanda Hankes and Gwyneth Muller - complimented the principal pair with their fluid, beautifully paced combinations.

BRAHMS-SCHOENBERG QUARTET had to have a grand finale tonight to cap all this superb dancing; so Teresa Reichlen and Amar Ramasar threw caution to the wind and sailed thru the fiendishly demanding, non-stop Rondo with thrilling speed and daring aligned to smouldering sexual tension. They built the piece brilliantly, in the end basking in a prolonged ovation and having to come out an unprecedented four times before the curtain - and nearly getting a fifth call, had not the house lights come up.

FRIDAY EVENING/MAY 18, 2012
ALL BRAHMS/BALANCHINE

LIEBESLIEDER WALTZER: Kowroski, Whelan, *Bouder, Taylor, *J. Stafford, J. Angle, *T. Angle, Marcovici [Conductor: Sill, Solo Piano: Walters]
     
BRAHMS-SCHOENBERG QUARTET: First Movement: *Krohn, *Finlay, *Kikta; Second Movement: T. Peck, J. Peck; Third Movement: *Scheller, Garcia; Fourth Movement: Reichlen, Ramasar  [Conductor: Otranto]

Here's a little taste of Scheller Magic: a studio run-thru of the Black Swan variation.

Onstage @ Dance Against Cancer

Tyler Angle and Tiler Peck of New York City Ballet in the APOLLO pas de deux at the recent Dance Against Cancer gala benefit. Photo by Erin Baiano. Read about the evening here.

Click on the images to enlarge.

New York City Ballet's Amar Ramasar and Maria Kowroski in the pas de deux from Balanchine's AGON.

Matthew Rushing closed the gala with a memorable performance of the Alvin Ailey/Ray Charles solo SONG FOR YOU.

All photos by Erin Baiano.

Upcoming: Parsons Dance Intensives

Parsons Dance are offering two Intensives in the coming weeks. A three-week Summer Intensive Workshop runs from May 29th thru June 12th. David Parsons Master Choreography Workshop follows on June 18th thru 22nd. Enroll for either Intensive (or both) here.