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Dance Premieres That Have Piqued Our Curiosity This Month


November guarantees long-awaited premieres, from Andy Blankenbuehler’s newest musical to Wayne McGregor’s adaptation of a Margaret Atwood trilogy.

Gold Mine

Andy Blankenbuehler stands beside a ghost light in a largely empty theater as he speaks to a gathered group. Those in view wear face masks.
Kate Nash, Andy Blankenbuehler and guide co-author Ted Malawer on the first rehearsal of MCC Theater’s Solely Gold. Photograph by Numad Group, courtesy Matt Ross Public Relations.

NEW YORK CITY  Andy Blankenbuehler’s third outing as a director-choreographer, Solely Gold, will get its official off-Broadway opening this month after practically a decade in growth. The brand new dance musical, which options music written by British pop artist Kate Nash, follows a royal household’s arrival in Paris and the cascading results on native townsfolk and the Aristocracy alike. The MCC Theater manufacturing unsurprisingly boasts a deep bench of dance expertise—lots of whom Blankenbuehler labored with as members of Hamilton’s authentic forged—alongside Broadway veteran Terrence Mann. Opening evening is scheduled for Nov. 7. mcctheater.org.

Returning to Ceremony

A dancer in dark trousers and a bright blue shirt jumps straight in the air, arms flying into a V beside his ears. A cluster of a half dozen other dancers are to the right, leaning forward with hands behind their backs as they pause in coupe back, knees bent.
Stina Quagebeur’s Take 5 Blues. Photograph by Laurent Liotardo, courtesy ENB.

LONDON  For his first work for English Nationwide Ballet, Mats Ek revisits The Ceremony of Spring. Although he created a Ceremony for Cullberg Ballet impressed by the tradition of Japanese samurai in 1984, this guarantees to be an entirely new model, that includes designs by Swedish artist Marie-Louise Ekman. William Forsythe’s well-loved Blake Works I and an expanded iteration of Stina Quagebeur’s virtuosic, jazz-inflected Take 5 Blues full the triple invoice, showing at Sadler’s Wells Nov. 9–12. ballet.org.uk.

Good Mourning

Two individuals stand at a barre set at an angle into the studio. One, in layers of rehearsal-wear, leans her elbows upon it and gazes distrustfully at the camera. The other, beside her, wears a flowing blue lace gown and a wolf head. Rope is tied to the barre and is rigged overhead out of sight; a pair of white sneakers dangles by its laces.
A rehearsal for mourning after mornings. Photograph courtesy Anspaugh.

NEW YORK CITY  Vanessa Anspaugh’s mourning after mornings examines loss of life and grieving rituals via the eyes of three archetypal feminine outcasts dealing with their very own growing older our bodies. The work premieres at New York Stay Arts Nov. 10–12. newyorklivearts.org.

Sing It Once more

A black and white portrait of Rena Butler, who tilts her head toward a raised shoulder, hands in her pockets, as she gazes thoughtfully at the camera.
Rena Butler. Photograph by Alexander V. Nichols, courtesy SFO.

SAN FRANCISCO  Choreographers, composers and writers throughout genres have discovered inspiration within the Greek fable of Orpheus and Eurydice. Up to date dancemaker Rena Butler will take her personal stab at it this month, as she choreographs a brand new manufacturing of the Gluck opera for San Francisco Opera. Nov. 15–Dec. 1. sfopera.com.

Getting Jazzy in Jersey

A barefoot dancer in a lime green dress that flares around her knees jumps in parallel passé, opposite arm flung straight behind her. A trio of dancers in matching dresses in different colors surround her, smiling, as they shift through plié.
Carolyn Dorfman’s PRIMA! Photograph by Steven Pisano, courtesy AMT Public Relations.

NEWARK, NJ  Carolyn Dorfman Dance seems at New Jersey Performing Arts Middle for one evening of its TD James Moody Jazz Competition with a premiere from Dorfman set to new music by jazz violinist Regina Carter, carried out stay. Rounding out the Jazz Legends and The Energy of Now! program are Juel D. Lane’s NOW, which debuted in April, and Dorfman’s PRIMA! and Pastorale Pause. Nov. 16. carolyndorfman.dance.

McGregor, Atwood, Richter

Wayne McGregor is caught in profile in a white-walled studio. He gestures with one arm forward, a flattening gesture, as he speaks to the room. A dancer is visible from the waist up, out of focus, listening with hands on hips.
Wayne McGregor in rehearsal. Photograph by Karolina Kuras, courtesy NBoC.

TORONTO Wayne McGregor collaborates with acclaimed Canadian writer Margaret Atwood and famous composer Max Richter for his newest literature-inspired ballet triptych, MADDADDAM. Within the speculative science fiction trilogy on which the evening-length relies, Atwood crafted parallel narratives happening in a dystopian world led to by unchecked company greed, genetic experimentation and pharmaceutical engineering, and the ensuing organic disaster. Initially slated to premiere in November 2020, the brand new ballet (co-commissioned and produced by The Royal Ballet) will probably be unveiled by the Nationwide Ballet of Canada Nov. 23–30. nationwide.ballet.ca.

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