In order to round out & fill in this follow-up (and 2nd) portion
of my most recent post - a synoptic view of a few Metro Area cultural events attended - I'll present and discuss just a few more memorable events ... dance performances (The New York City Ballet ... offering up an all Jerome Robbins program of upbeat, seemingly casual & sophisticated, relatively contemporary balletic theater pieces); more food (Brasilina, featuring a line-up of authentic Brazilian delicacies); and cinema (Margarethe von Trotta's feature film, Hannah Arendt).
Here goes ...
Interplay, which had its New York City Ballet Premiere in
Apparently, the ballet depicts the interplay of classical and more popular (i.e., "vernacular") choreography and Robbins is said to have "experimented with choreographic patterns and the interactions of [his] dancers in various formations." (Note the photo.) The 3rd section of the ballet, "byplay," the bluesy pas de deux mentioned above, and showcasing Lauren Lovette & Taylor Stanley, reflects a stark contrast - from within Robbins' plan & Gould's score - with the "joyfully competitive spirit of the [whole] ballet." During this performance of Interplay, kudos, it should be noted, must go to the orchestra's solo pianist, Ms. Susan Walters, whose work clearly complemented the production, while accentuating its lyricism.I'm Old Fashioned (with music, again, by Morton Gould, after a Jerome Kern song, with lyrics by Johnny Mercer) is Robbins' rich & wonderful tribute to Fred Astaire. The central dance sequence - the glamorous waltzes - constitute the motif throughout the ballet & are reprised almost cinematically leading up toward the finale by the full dance troupe with dancers, male & female, in stunning, sophisticated black garb recalling Mr. Astair and Rita Hayworth who waltz crisply in a projected scene from the film - You Were Never Lovelier - toward the beginning of the ballet and another at the very end.
The whole ballet, and certainly the last few minutes, is danced in a relatively smooth and slow waltz ... and the whole production takes on a semi-magical, fairy-tale (Hollywood!) aura contrasting the steps of the cast of the New York City Ballet - waltzing slowly - with the larger-than-life figures of Fred Astair & partner projected on the screen, just above center stage.