Marsha Volgyi

The Nutcracker matinee presented by the Eglevsky Ballet opened with an enthusiastic welcome from the Executive Artistic Director, Maurice Brandon Curry. Mr. Curry truly choreographed this production with great attention to detail, quality, and with an unparalleled panache. The Massapequa Philharmonic under the direction of David Bernard regaled the audience with the classical music of Pyotr Ilyich Tchaikovsky. Throughout the performance, at times, I felt as if I were listening to a pre-recorded sound track because it was so smooth. What a wonderful addition and elevated element for the audience!

The dynamic introductory host for this 'Love Fest' was Loni Ackerman. 'Song and dance concert to celebrate our 25th Anniversary season (2018 - 2019) and Broadway Cares/Equity fights Aids' (Dancers Over 40 and Friends, 2018). It featured 33 dancers as well as special guests and speakers. Among those memorialized and given special tributes, George Marcy a DO40 board member was eulogized movingly by Carol Lawrence. Ms. Lawrence gave a heartfelt tribute to her mentor, George Marcy. She spoke at length of Marcy's kindnesses and invaluable help within her career. The 'star' quality that Ms. Lawrence possesses shone through as she took the stage and told the audience how very important Mr. Marcy had been in her life. He would be truly missed by her and those who knew him well.

The 15th Fall for Dance, at NY City Center, are the variety of New York's art and dance. It featured ballet, contemporary, modern, funk, street dancing, and much more. Don't forget to get your tickets before these performances are sold out.

On the evening of Tuesday, February 13, 2018 at the David H. Koch Theater, New York City Ballet featured Romeo and Juliet - a ballet in two acts. It was based on the play by William Shakespeare, music by Sergei Prokofiev, and choreography by Peter Martins.  The scenery was created by Per Kirkeby and the costumes were by Per Kirkeby and Kirsten Lund Nielsen.  The orchestra was conducted by Andrew Litton. The curtain opened to reveal blood red trees and background. This visual was brilliantly conceived by Mr. Kirkeby. It foreshadowed the "flames of lost love and passion". It's opening musical strains evoked a myriad of ominous events yet to occur in the lives of these two star-crossed young people and their families.

The David H. Koch Theater on Saturday January 27, 2018 during the matinee of the New York City Ballet featured three works choreographed by George Balanchine. These included Apollo, Mozartiana, and Cortege Hongrois. An announcement was made by principal dancers Jared Angle and Megan Fairchild that the matinee performances were being dedicated to George Balanchine. It was mentioned that Apollo was the first ballet choreographed by Mr. B at the age of 24.

The Sunday matinee performance, on December 17, 2017, The State Ballet Theatre of Russia performed the iconic ballet The Nutcracker. This company brought the enchantment from the East to the venue of On Stage at Kingsborough Community College. A sold-out performance! The audience was comprised mostly of local Brighton Beach and other Brooklynites. The music of The Nutcracker is one of my top three favorite ballet scores and there are numerous reasons for that. Yet, my favorite reason is the ease by which choreography can be created for each piece of this fairy tale.

The Sunday matinee performance of Chita Rivera and Robert Klein, on October 8, 2017 at Queensborough Community College's QPAC (Queensborough Performing Arts Center) was sold out. Before either of the two headliners of film and Broadway stepped onto the stage, QPAC's artistic director, Susan Agin, welcomed the audience. Ms. Agin's enthusiastic persona had the audience ready for this show and many of the shows coming up for this season. I found this endearing and personal because she promoted other headliners by playing snippets of these artists' hits and to encourage everyone not to miss these shows. Brilliant! A few of those upcoming artists are Darlene Love, Debbie Boone, Tony Orlando, and many more headliners from that era. The unique feature of this venue is that there are big stars booked, yet also a neighborhood feel of those that attend performances here.

The evening of Thursday, October 5, 2017 was an All Balanchine program of the New York City Ballet. At the Koch Theater, the repertoire consisted of Square Dance, La Valse, and Cortege Hongrois. These three dances featured just a small range of the choreography that its founder, George Balanchine, created decades ago and to this day are staples of the company.

I had the pleasure of attending the 7th Annual Clive Barnes Awards on January 9, 2017 at the Walter Reade Theater of Lincoln Center. Last year, I also attended this ceremony, which supports artists from both the theater and dance worlds through financial gifts and accolades in memory of the indefatigable Mr. Barnes. Interestingly enough, I believe that having the privilege to be there again allowed me to see how much this foundation impacts the nominees and the winners.

On the fall evening of October 1, 2016, it was City Center's 'tis the autumn season for the Fall for Dance Festival event. Four dance companies were headlining at this midtown venue-CNN de la Rochelle / Cie Accrorap, Ayodele Casel, Hong Kong Ballet, and Bangarra Dance Theatre. Each company was like the plethora of delicious international restaurants of Manhattan-the flavors and spices were unique and delightful to the senses.

Jewels, choreographed by George Balanchine, performed on Friday September 30, 2016 at The Koch Theater was a wonderful beginning to the weekend. This ballet is a truly priceless gem in the repertoire of the New York City Ballet. The three-act storyless ballet is quite distinctive with its style and music.

The afternoon performance on Saturday May 28, 2016 of the New York City Ballet (NYCB) was bubbling with children and balletomanes in anticipation of A Midsummer Night's Dream. This playful ballet, which was based upon the Shakespearean play, was delightfully displayed with the combination of music by Felix Mendelssohn and choreography by the company's co-founder, George Balanchine.

On May 11, 2016, The Cutting Room on East 32nd Street housed Polly Ferman's Glamour Tango. In befitting cabaret style, wining and dining were part of this evening's performance. A four-piece band would allow our ears to hear live music, which is something quite rare if not at the opera or the ballet. What piqued my interest prior was how Ms. Ferman's creation would demonstrate the tango elements without the male presence. The man seems to be an integral part of this. However I would soon be shown how the man could instead be considered a preference.

At Lincoln Center's Koch Theater on April 29, 2016, the ballet crowd filled the house that Friday evening. For this program, City Ballet presented Estancia, Pictures at an Exhibition, and Everywhere We Go. Each piece demonstrated a variance in style, yet conclusively was still in the realm of the dancers' undeniable Balanchine training.

Downtown at Baruch Performing Arts Center on April 21, 2016, Circo de la Luna performed Circo en Tres Actos. A small setting for this cutting-edge collaboration. As in any theatrical cirque-like production, there are a myriad of characters, which can be confusing. However, Circo de la Luna's storyline was concise and quirky to relate to the  life of their protagonist living in the Big Apple. Mark, the main character, struggles with fitting into a city with all the diversity of personalities, crowds, and cramped quarters. He encounters a package that opens his imagination and with inspiration. That's when our España and cirque performers appear. Mark later on envisions more characters to draw him into his moonstruck environment. To conclude the show, there was conflict from the Boeadoras of the metaphorical emotions encompassing the physical and emotional world. Yet with all that ensued Mark's chaotic city hasn't changed, but he has within.

My introduction to YoungArts happened on Wednesday evening, April 13, 2016 at Pearl Studios near Penn Station. The seventh floor of this dance facility was converted into their intensive week of interdisciplinary workshops, seminars, and master classes with renowned leaders in their fields. Since I am a dance reviewer, I was honored to observe a master class with Guest Teacher John Heginbotham. I was surprised that only five dancers were in attendance.  Usually, most master classes are packed wall-to-wall with dance students. Later on, I was informed that this intimate setting was designed like that because YoungArts wants to make sure that their artists have the dedicated attention of teachers such as Mr. Heginbotham. A quintet of an elite group.

American Ballet Theatre (ABT) Studio Company opened their three-day performance schedule on the evening of April 15, 2016, at The Joyce Theater. The troupe offered a  program of five balletic acts that included one world premiere and two New York City premieres. With a full house, numerous supporters of the ABT attended. I recognized a few corps de ballet members of the company, principal dancer of ABT Gillian Murphy, and the extraordinary ballerina Alessandra Ferri in the audience. It was a lovely gesture for them and for many other guests to see the upcoming dancers who could someday be part of the ABT main company.

On a beautiful New York Sunday afternoon, April 17, 2016, American Ballet Theatre (ABT) Studio Company performed on their final day at The Joyce Theater. I was curious to watch these young dancers in Program C-a different repertoire. The line up consisted of La Bayadere Pas d'Action, Bier Halle, Libera!, Third Wheels, and Bolero. As I waited in wonderment of the coming piece, I too wondered if the ABT Studio dancers were anxious to knock the audience and myself out of my aisle seat with their talents. Tragically, I wound up holding the armrests from the anxiety created onstage.

At the Florence Gould Hall, just a two avenues away from The Plaza, my April 17, 2016 morning began. Parents, family, friends, and above all, children were ready to see New York Theatre Ballet's (NYTB) version of Cinderella at 11 AM. Many little girls were dressed to impress as the fairy tale character, while the boys were looking good in their Sunday best. For them, this would be animation come to life.

At the Salvatore Capezio Theater at Peridance, located near Union Square, on April 9, 2016 the New York Jazz Choreography Project (NYJCP) had a line-up of thirteen jazz dances. Some of those acts ranged from duets to large ensembles. Their co-artistic director, Marian Hyun, spoke to the audience briefly to describe the goals of this not-for-profit organization. One of these goals is to keep American jazz dance thriving. The dance style of jazz is very important to me because this is what fuels many of the steps in numerous Broadway shows. Jazz has also showcased many great artists over the decades-Bob Fosse, Luigi, Ann Reinking, Jerome Robbins, and hundreds more. For this review, I will be highlighting my five favorite pieces. Each piece of the evening was a joy, yet I want to discuss those dancers and acts that significantly stood out to me.