OBT PERFORMS AT NEW YORK CITY CENTER
Fresh on the heels of the company’s successful Kennedy Center debut in June 2008, OBT was represented at New York City Center’s annual Fall For Dance festival, September 17 - 27.
THE REVIEWS ARE IN...
The New York Times
“...the [RUSH] pas de deux, performed by Alison Roper and Artur Sultanov of Oregon Ballet Theater, was a snapshot of Mr. Wheeldon at his most ardent and enigmatic.” - Read The New York Times Review
“...the clean crisp lines of a duet from Christopher Wheeldon’s Rush, beautifully danced by Alison Roper and Artur Sultanov of Oregon Ballet Theatre, made a great contrast with the onrush of Hofesh Shechter’s Uprising.” - Read Wendy Perron's Editor's Blog
The New York Observer
"Let’s salute also... the striking duet from Christopher Wheeldon’s Rush, performed superbly by the Oregon Ballet Theatre." - Read The New York Observer Review
"Dancers Alison Roper and Artur Sultanov were exceptionally fluid in their partnering and turns, a mere tease at what New York audiences might be missing with OBT being on the opposite coast.” - Read the Explore Dance Review
“The dancers were impeccably clear and strong, and captured the underlying unease of the Martinu music.” - Read the Danceview Times Review
ABOUT FALL FOR DANCE
Since 2005, Fall For Dance has assembled more than two dozen companies every autumn from across the country and around the globe for ten days of performances that span a wide and eclectic range of dance genres. OBT was one of just eight ballet companies invited to participate in 2008, joining American Ballet Theatre, Aspen Santa Fe Ballet, Les Ballets Jazz de Montréal, Spain’s Compañia Nacional de Danza, Houston Ballet, The National Ballet of Canada, San Francisco Ballet, and The Suzanne Farrell Ballet. Other notable festival performers included BeijingDance, Merce Cunningham Dance Company, and Paul Taylor Dance Company.
Oregon Ballet Theatre principal dancers Alison Roper and Artur Sultanov performed the central pas de deux from Christopher Wheeldon’s RUSH, the ballet that OBT danced in its entirety in June in Washington, DC.
Created in 2003 for San Francisco Ballet and set to a Bohuslav Martinu score, RUSH, in its entirety, employs a corps of five couples, two pair of soloists and a principal couple who dance the section which was excerpted for Fall For Dance. “Elegant, elegiac and dark” (Rita Felciano, in Dance View Times), this central pas deux serves as an intimate counterpoint to the bright, fast-paced athleticism that otherwise marks the complete ballet. Spiraling lifts and close partnering throughout contribute to the duet’s unbroken drama.
“To close one season at the Kennedy Center and open the next at City Center, establishes a new and exciting set of expectations for OBT,” said Stowell. “I know it will elicit a new level of inspiring performances by our dancers and result in even greater exposure for OBT.” He added, “City Center holds a special place in my heart. It is the theater where my parents spent the bulk of their dancing careers and where I performed many times with San Francisco Ballet.”
Constructed in 1923 as a fraternal meeting hall, New York City Center was renovated in 1943 before reopening as Manhattan’s first performing arts center. It was the birthplace of both the New York City Ballet and New York Opera, and has been a cultural hub for Gothamites for 65 years. Today, as the city’s premier dance center, it is the home of American Ballet Theatre, Alvin Ailey American Dance Theater, Paul Taylor Dance Company, and Christopher Wheeldon’s Morphoses.
THE NEW YORK TIMES
"This year’s six programs make an ideal mix: dances New York is known to love (the Paul Taylor Dance Company in “Esplanade,” the Merce Cunningham Dance Company in “Sounddance”); dances admired in New York that I have yet to see myself (Twyla Tharp’s “Sweet Fields” as danced by Aspen Santa Fe Ballet); dance productions that I have admired outside New York but have not seen here (the Suzanne Farrell Ballet in Balanchine’s rare “Pithoprakta,” Oregon Ballet Theatre in Christopher Wheeldon’s “Rush,” the Dayton Contemporary Dance Company in Asadata Dafora’s “Awassa Astrige/Ostrich” solo); dances seen too seldom here or elsewhere (Jane Dudley’s “Harmonica Breakdown” as danced by Sheron Wray); and companies or dancers of which tantalizingly little is known here (like the Pichet Klunchun Dance Company of Thailand and the Lombard Twins from Argentina)." - Alastair Macauley, The New York Times