THE RULES FOR FALL FOR DANCE changed slightly this year—several more performances, spread out over three weeks, and a modest price hike—but the principle remains the same: a smorgasbord of wildly various disciplines and aesthetics, and equally various levels of interest and talent. You never know exactly what to expect, but you know there will be the good, the bad, and the well-intentioned boring.
Inevitably, there were four dance modes on view: classical ballet, “downtown,” ethnic/folk and novelties. It makes sense—the programs give audiences a chance to decide what they like, and give critics a chance to get a sense of companies and performers they might never be able to see otherwise—and to send up warning flares: If this bunch makes it back to town, STAY AWAY!
“Yesterday is done.”
Those are, appropriately enough, the first words you hear in the current version of Merrily We Roll Along, the long-troubled and oft-reworked musical with music and lyrics by Stephen Sondheim and a book by George Furth.
After suffering through the massacre of On a Clear Day You Can See Forever, I thought I had seen the dregs of the New York theater season. I was wrong. Things reach the absolute nadir of abysmal incompetence with the new Manhattan Theatre Club production at the City Center of a dopey, pretentious travesty called Close Up Space.
The almost always watchable David Hyde Pierce stars as Paul Barrow, the harassed editor in chief of a small but distinctive publishing house called Tandem Books.
So it’s come and gone again–our wildly popular (all 27,500 City Center seats sold out in three days) annual smorgasbord known as “Fall for Dance.” Five programs, 10 performances, 20 works and a gaggle of drained dance critics, at least those of us nut cases who turn up for everything. As usual, it’s been a Read More