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What did happen was that the three-Balanchine-ballet program Tuesday unfolded with an air of organic inevitability, and showcased the extraordinary range of the genre-bending 20th-century choreographer, from his 1929 expressionist “Prodigal Son” to the pristine abstract classicism of the 1967 “Diamonds” to the wry, jazz- and Broadway-inflected “Stravinsky Violin Concerto” (1972) bloch hannah pointe shoes. Sarah Van Patten and Luke Ingham found breathtaking new nuances in “Concerto,” heightening the work’s smart and cheeky wit, while the company as a whole demonstrated its shape-shifting ability to make an 88-year-old dance look newly minted..
Then on Thursday, a trio of male choreographers (no woman choreographer in sight, yet again), in a program entitled “Contemporary Voices,” offered three expressive works that put the artists’ strengths and weaknesses, not to mention the many pitfalls of contemporary ballet, on full display bloch hannah pointe shoes. It also highlighted the fact that this company is made up of supreme artists who can surpass and even elevate a dance that misses the mark. Appealing to younger audiences is nothing new. What is different now is that television can take artistic risks that were all but impossible 40 years ago and produce series with the addictive draw of soaps and the heft of film. The one world premiere this week — “Salome” by South Africa-born Arthur Pita — was nothing if not indebted to TV and film..
Pita nods to the director of “Mulholland Drive” with this new work, and the London Guardian goes so far as to call the choreographer the “David Lynch of dance.” Running toward the sizzle of contemporary melodrama, his “Salome” promises volumes bloch hannah pointe shoes. It opens, with tule fog slithering across the stage, as a hearselike limousine rolls on, carrying a contemporary incarnation of the Bible’s murderous King Herod, his wife Herodias and the latter’s daughter, whom we know as Salome. Aaron Robison’s John (the Baptist) is soon “chosen” for seduction and execution..
Adapted from the Biblical story and echoing our own world events, “Salome” is a spiritual morass that has been personified. Val Caniparoli’s Herod is a dangerous 21st-century strong man; Anita Paciotti, as the wife, is a manipulative 5th Avenue spider in diamonds; and Dores André’s Salome is an innocent forced to drink spiked wine by her lecherous stepfather in order to undergo a rite of passage. By the dance’s end, Salome is a co-conspirator. For about the first third of the dance, the political signs are loud, from the indicators of wealth and power to the unholy sport of the “dance of the seven veils.” This was not a strip tease by Salome for her new dad, as in some versions, but a forced dance by seven men in burka-like attire, propelled on stage by the king’s bodyguards bloch hannah pointe shoes. Rendition, anyone?..
But these tropes quickly turned muddy, and no matter how many times butterfly-shaped confetti got blown on stage, “Salome” failed to deliver on its promise. The heat of melodrama melted the ethical quandaries laid out by Pita. And a drugged Salome becomes the prototypical femme fatale in red, rather than a woman who is herself a victim of menacing forces. If she were dressed in army camouflage and fulfilling orders given by her military bosses at Abu Ghraib, like Lynndie England, it would be one thing bloch hannah pointe shoes. But in this incarnation, “Salome” is trite..