THE NEWYORKER, NOVEMBER 25, 2019 15
ILLUSTRATION BY DAIANA RUIZ
Founded almost fifty years ago, Ballet Hispánico doesn’t look its age.
Eduardo Vilaro, its artistic director for the past decade, has been keep-
ing the troupe up to date, encouraging contemporary choreographers
to express the breadth and complexity of Latino identity today. The
most fun way to check in on this effort is to attend the company’s
annual shows at the Apollo Theatre, in Harlem. Even when the new
works are misfires, the evenings have the energy of a special occasion.
All the pieces on this year’s programs, Nov. 22-23, are by women. The
in-demand Belgian-Colombian choreographer Annabelle Lopez
Ochoa offers a première, “Tiburones” (“Sharks”), about the role of the
media in perpetuating stereotypes. But the sure winner is “Con Brazos
Abiertos” (“With Open Arms”), a recent homegrown effort by Michelle
Manzanales, the head of Ballet Hispánico’s school. Its subject is the
difficulty of hyphenated identities, especially Mexican-American, but
the treatment is light, funny, and fresh.—Brian Seibert
CONTEMPORARY DANCE
Peeping Tom
BAM Harvey Theatre
Founded in 2000, this acclaimed Belgian
dance-theatre collective is only now making
its United States début. “32 Rue Vanden-
branden” takes place amid trailer homes
on a snowy mountaintop. To a semi-ironic
soundtrack ranging from Stravinsky and
Bellini to “Dreamgirls” and Pink Floyd, the
inhabitants act out their desires and fears
through contortion—bending backward,
wrapping themselves around one another.
Blown by the wind, they engage in silly slap-
stick (pratfalls, sinking pants) that swerves
into noirish drama and darker surrealism à
la David Lynch.—Brian Seibert (Nov. 20-23.)
“Fridays at Noon”
92nd Street Y
The Merce Cunningham centennial is
drawing to a close, but there are still a few
opportunities to see his choreography in
New York. This week, in fact, there are two
events dedicated to Cunningham, the first
of which is this talk and demonstration.
Alastair Macaulay, the former dance critic
1
DANCE
Noche Flamenca
Joyce Theatre
“Entre Tú y Yo” (“Between You and Me”),
Martín Santangelo’s evening of Spanish fla-
menco, is a stripped-down exploration of love
in its various guises, expressed through solos,
duets, and ensemble pieces. The company,
led by Soledad Barrio, a dancer of burning
intensity, is a real unit, made up of four danc-
ers, two guitarists, and three singers. There’s
little more to it than this: dancers responding
to the words of the songs, the rhythm of
palmas (handclapping), and the urgent call of
guitars and the human voice.—Marina Harss
(Nov. 19-24 and Nov. 26. Through Dec. 1.)
cerated artists, spanning a century and a half.
The first exhibition overseen by the Draw-
ing Center’s intelligent new director, Laura
Hoptman, it proves that a drawing—whether
it becomes a window, a mirror, a weapon, or
a tool—is always also a lifeline.—Andrea K.
Scott (Through Jan. 5.)
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