Goldberg Variations (1986)
Petronio continues full steam
ahead with his Bloodlines
series, a tantalizing window
into the rich past of post-
modern dance. His season
at The Joyce includes five
short historical works: three
by Judson Dance Theater
co-founder Yvonne Rainer, an
excerpt from Steve Paxton’s
and a solo choreographed by
dance legend Anna Halprin.
This last one, The Courtesan
and the Crone, performed
by Petronio himself, is done
as a formal seduction in ritual
mask and ceremonial robe to Baroque music. Halprin made it when
she was 79—the “wrong” age to be seductive—and has given it to
Petronio—who is the “wrong” gender to be seductive. Rainer’s Chair
Pillow (1969), on the other hand, is fun and informal, with dancers
tossing pillows to pop music. A new piece by Petronio rounds out the
bill. March 28–April 2. petron.io.
Ballet Goes Mental
A patient-and-staff variety show at the Bridgewater State
Hospital for the Criminally Insane might not seem the most natu-
ral premise for a ballet, but that hasn’t deterred Minneapolis-based
choreographer James Sewell. Titicut Follies: The Ballet captures the
essence of the event as shown in Frederick Wiseman’s controversial
1967 documentary. Sewell teamed up with Wiseman to create the work,
which was made possible by The Center for Ballet and the Arts at
NYU (and is the first full ballet to grow out of a CBA fellowship). Performed by the James Sewell Ballet, the production includes an original
score by Lenny Pickett. Previews in Minneapolis March 31–April 2.
thecowlescenter.org. Premieres in NYC April 28–30. nyuskirball.org.
Particle Physics Meets Ballet
Incarnations swings between lecturing and performing. Composer Will Orzo
Emily Coates, whose exquisite dancing has graced New York City
Ballet as well as the companies of Twyla Tharp, Mikhail Baryshnikov and Yvonne
Rainer, now looks to a physicist to help her investigate the basic principles of mo-
tion. Using gestural language to explain, to echo and to question, her new piece
breaks up strains from Stravinsky in haunting ways. Danspace Project, March 16–18.
Contributors: Courtney Escoyne, Kathleen McGuire,
Wendy Perron, Linda Shapiro, Steve Sucato
Prepare for an epic mash-up. This month Pittsburgh Ballet Theatre
will host its first main-stage collaboration in its 45-year history, partnering with
Dance Theatre of Harlem. Each company will present signature works of its own,
including PBT in Dwight Rhoden’s StrayLifeLushHorn, with the Pittsburgh Jazz Or-
chestra, and DTH in works by Robert Garland and Glen Tetley. At the heart of the
shared mix bill is the Black Swan pas de deux, with dancers from both companies.
August Wilson Center, March 17–19, 23–26. pbt.org.
DTH’s Ingrid Silva and
PBT’s Julia Erickson
iteration of her