Celebrity Series of Boston Blog

Judith Jamison on Charlie Rose

The great Judith Jamison, long time leader of the Alvin Ailey American Dance Theater, spent some time with Charlie Rose back on July 3. She talked about her life and career and the vast preparations for the 50th  anniversary of the Alvin Ailey American Dance Theater:

Judith Jamison on Charlie Rose

Alvin Ailey American Dance Theater celebrates its 50th anniversary in Boston from April 28 to May 3 at Boston's Opera House (the April 28 performance includes the a capella ensemble Sweet Honey In The Rock). Subscription tickets (3 or more events) are available now; individual tickets go on sale September 8: www.celebrityseries.org.

Stunning dance pics available online from Jacob's Pillow

Dance, compared to the other performing arts, does a great vanishing act. It lives in the moment (most of the time) and then is gone. But in an under appreciated symbiosis between art forms, dance has inspired a steady stream of unforgettable photography since shutters first began clicking in the 19th century.

Now a small slice of one of the dance world's finest collections of historic photography has just been made available for purchase in print form on the Jacob's Pillow web site. Follow the link to the Jacob's Pillow Online Custom Photo Store and click on thumbnail images for each of five categories: 1) Ted Shawn 2) Ruth St. Denis 3) The Men Dancers 4) Around the Pillow and 5) Pillow Artists.

Marcia Siegel on "Dido and Aeneas" for the Phoenix

Along with the earlier mentioned Phoenix reviews, Marcia Siegel's review of the Mark-Morris-Dance-Group's-"Dido-and-Aeneas"-with-Emmanuel-Music-conducted by-Mark-himself (whew) is in this week's Boston Phoenix. Read Dido's fate.

Lloyd Schwartz on Mark Morris

Boston Phoenix classical music critic Lloyd Schwartz has weighed in (online today, in print tomorrow) on the Mark Morris Dance Group, "Dido and Aeneas" and Mark Morris, the conductor. Here is a taste of the ever thoughtful Mr. Schwartz:

"Morris didn’t take an opening bow, perhaps wanting to keep the spotlight focused on the dancers and singers. But he led with Smith’s remarkable combination of gravity and buoyancy. He got the orchestra to embody, even caress, each phrase. He found and maintained the rhythmic life not only in Purcell’s teasing, earthy jollity but also in his profound solemnity, providing sympathetic support for dancers and musicians alike. The final moments, the tragic funereal procession of Dido’s sister and subjects, were exquisite in their slow dissolve. Of course the center of the piece is Morris’s extraordinary choreography, but this was the rare Dido you could love even with your eyes closed."

Read all of Grand Finales

Gantz by a length, the Boston Phoenix reviews "Dido"

There will likely be three reviews of the Mark Morris Dance Group's "Dido and Aeneas" (music, dance, Mark, there's a lot to cover) from writers at the Boston Phoenix. First out of the gate is Arts Editor Jeffrey Gantz with a reviewthe headline of which sounds to me like the name of a racehorse: Altar and Ego. Then again, "Boston Phoenix" would make a credible name for a horse, too. No offense.

Mark no longer dualing, but 'Dido' still has it: The Globe Review

Thea Singer reviewed the Mark Morris Dance Group in "Dido and Aeneas" for today's Boston Globe. Thea was around and reviewing for the first go-round of "Dido" with Mark in the dual-lead roles of Dido, Queen of Carthage and the Sorceress, so her take on Morris' switch from stage to orchestra pit is doubly informed. But first, a little extra historical perspective . . .

Reviewing the U.S. premiere of "Dido" in 1989 (in this same Majestic theatre, no less), Christine Temin wrote:

"Morris dominates the production, and his great original contribution to it is the dual role -- similar to that of the ballerina in "Swan Lake," who plays both the Swan Queen and her evil opposite. The force of his presence astonishes: His Dido achieves real grandeur in death, arms stretching wide enough to embrace the world."

Morris stopped dancing the dual roles in 2000 and for this engagement conducts the orchestra and singers, not a surprising turn of events given Morris' deep relationship to music, but very unusual for a choreographer. Here is a bit of Thea Singer on "Dido and Aeneas" now:

"No one, I thought, could take the place of Morris - big-boned and master of the shimmy, curly locks flying - in the dual role. But Wednesday night's performance, presented by Celebrity Series of Boston at the Cutler Majestic Theatre, proved that maybe no one has to."

There is more, of course: Reimagining 'Dido and Aeneas'

And when you're finished, here is the link to buy tickets, there are still a few left...

Rite of Spring Anniversary Today

Today is the 95th anniversary of the 1913 premiere of Stravinsky's The Rite of Spring (famous as the thunderclap of modernism and, in part, for causing a riot. Read more). In honor of that anniversary (and not of the riot), here is a clip of the Joffrey Ballet's recreation of that 1913 production. Hang in there through the credits and just enjoy the overture.

Keith Powers reviews Mark Morris' (and Purcell's) "Dido and Aeneas" for the Herald

A rare (lately, anyway), elusive and most welcome sighting was made this morning: an overnight arts review in The Boston Herald. Keith Powers got the call: Shorter, sparcer Dido opera will leave audiences satisfied.

What Marcia Siegel thought of Minus One

Kyr

I almost forgot to share Marcia Siegel's review of Minus One and Les Grands Ballets Canadiens de Montreal. I think the oversight has something to do with basking in the glow of something that seemed to provoke an almost unanimous positive reaction in audience, staff, board - anyone that witnessed a performance of it. We are proud to have presented this show; and I can now say "we" comfortably because nearly everyone associated with our organization seems to have weighed in.

Maybe I'm not looking for some kind of validation from Marcia or any reviewer for this engagement the way I might have for other previous engagements. I know it was good. But that doesn't make Marcia's comments (or Thea Singer's or anyone else's) less relevant. Here is her take on Kyr, the segment of Minus One danced to “Ehad Mi Yodea,” the piece whose recording by Tractor's Revenge I have finally found after considerable searching:

"I think the dance to an Israeli counting song, “Ehad Mi Yodea,” is Naharin’s masterwork of choreographic design and physical surrender. Twenty men and women in identical black suits and white shirts occupy a circle of chairs. The music is ferocious, propulsive. In unison, the dancers rear back, crash to the floor, stomp onto the chairs, adding an explosive gesture every time the recorded male chorus inserts a new line. The effect is stunning. On the last verses they tear off their clothes piece by piece and throw them into the center. It’s like some feverish ritual offering or purification."

So here, a little late, is where you can find Marcia Siegel's review of Minus One.

Globe reviews Minus One and Les Grands Ballets Canadiens de Montreal

The "Diva" segment from Ohad Naharin's Minus One

Thea Singer reviewed Ohad Naharin's "Minus One" by Les Grands Ballets Canadiens de Montreal for Saturday's Boston Globe. Here's a taste:

"'Minus One' (2002) a play of shadow against light, is Naharin's black-and-white ballet, down to the costumes. It's a stunning show, with the pellucid lines of classical ballet and the gut-wrenching contractions of Martha Graham."

Read all of All told, Minus One quite a number.

The "Diva" shot above is not particularly emblematic of "Minus One" except that surprise is a constant. The dancer is on stilts here, lip synching to Yma Sumac. Our diva was a bit more garish, with extreme makeup.