10/1/23 O&A NYC DANCE REVIEW: Ballet X At The Joyce

By Walter Rutledge

Philadelphia based Ballet X returned to New York City’s Joyce Theater for a five-day six performance season. The expectations were high for this ethnically diverse contemporary ballet company and the talented dancers rose to the occasion. It was unfortunate that the choreography and the programming were not able to support the performers despite their valiant efforts. Continue reading

9/28/23 O&A NYC SHALL WE DANCE FRIDAY: Debbie Allen Part Two- On Choreography and Directing

By Walter Rutledge

The second installment from the Out and About NYC Magazine 2015 interview with entertainment icon Debbie Allen. In this section we discussed her views on choreography and directing.  Continue reading

9/17/23 O&A NYC REVIEW: Is Heart of Brick A Black Queer Sex In The City?

By Walter Rutledge

The Joyce Theater’s fall 2023 season began September 15 with the interdisciplinary gay romance saga Heart of Brick. The theatrical production combined live vocal music, spoken narrations, voiceovers, dance, lighting and a clean, simple set design to recreate an evening at Langstons, New York City’s oldest Black gay bar. This is the first presentation in Director of Programming Danni Gee augural season, and in the truest downtown dance style she left the audience with something to talk about.   Continue reading

9/8/23 O&A NYC SHALL WE DANCE FRIDAY: Empathy (Part One)- A Conversation with Debbie Allen

By Walter Rutledge


In 2015 O&A NYC Editor-in-Chief Walter Rutledge interviewed Debbie Allen at the Faison Firehouse Theater for Dance Noir Magazine (DNM). The print article would discuss her relationship with Katherine Dunham. The video was produced as visual notes for the upcoming Dunham article. When the magazine suspended publication, out of respect for DNM Founder/Editor-in-Chief Carol Lloyd, we held the material with hopes of eventually printing the article for DNM. After eight years Ms. Allen’s words remain relevant, inspiring and informative and should be shared. We call this first installment Empathy. Continue reading

8/8/23 O&A NYC DANCE/FILM: Thelma Hill Performing Arts Center Bringing Its Groundbreaking History To The Screen

By Walter Rutledge

Please excuse my self indulgent opening digression. It is the perfect example of  history being rewritten and romanticized to create propaganda more palatable to the American founding fathers myth. . Continue reading

6/11/23 O&A NYC DANCE REVIEW: Ailey At BAM

By Walter Rutledge

The Alvin Ailey American Dance Theater presented a Brooklyn dance series June 6th thru 11th at the Brooklyn Academy of Music (BAM). The six-day seven performance series offered two well curated programs of new works and Ailey classics. The Saturday evening performance consisted of four works by four modern dance luminaries, Kyle Abraham, Robert Battle, Ron Brown and Paul Taylor. Continue reading

4/22/23 O&A NYC FILM REVIEW: An American Ballet Story- The Harkness Ballet

By Walter Rutledge

An American Ballet Story is the long-awaited documentary about the rise and fall of the Harkness Ballet. The company and school had an almost mythical two-decade impact on dance and helped changed the artform forever. The 94-minute documentary, which was seven years in the making, tells the unvarnished story of the now defunct and largely forgotten Harkness Ballet of New York. Continue reading

1/18/23 O&A NYC REVIEW: Ronald K. Brown/Evidence

By Walter Rutledge

Ronald K. Brown/Evidence began its New York season at the Joyce Theater on Tuesday January 17 and runs through Sunday, January 22. The six-day, seven performance offering presents three ensemble works spanning twenty-four years of Brown’s artistry. The season provides an insight into the thirty-eight-year journey of Brown and Evidence. Continue reading

12/24/22 O&A NYC FROM THE VAULT: A Conversation with Clive Thompson- The Ailey Years

By Walter Rutledge

Clive Thompson danced in the Golden Era of the Alvin Ailey American Dance Theater. Officially becoming a permanent member in 1970 when choreographer Ailey was entering a creative zenith. He viral good looks, skillful partnering, and his ability to capture audiences in both dramatic and abstract roles made him Ailey royalty. Continue reading

6/10/22 O&A NYC DANCE REVIEW: Calvin Royal III in Giselle

By Walter Rutledge

American Ballet Theatre (ABT) begins its summer New York season June 13 at the Metropolitan Opera House. Before we discuss the upcoming season, it would be remiss of me not to discuss one important event during the prior fall season. A season marked by many ABT firsts, making it truly a season of diversity.

On October 23, 2021, dance history was quietly made at the Saturday matinee of American Ballet Theater. Calvin Royal lll became the company’s first African American principal dancer to perform the lead role of Albrecht in Giselle. The production exuded with the extravagance befitting American Ballet Theatre, the grandeur of the David H Koch Theater, and Mr. Royal’s augural New York City performance. He was complemented by sumptuous sets, live music, focused staging and a stellar cast.

Cassandra Trenary in the title role of Giselle danced with a spirited conviction. We all were sitting in the front seats of her roller-coaster ride from exuberance to madness, death, and finally her transformation into a fearless and virtuous spirit. Patrick Frenette‘s Hilarion embodied the jealous spurled “let’s just be friends” suitor. And Susan Jones portrayed Berthe, Giselle’s mother, with both compassion and matriarchal protectiveness.

Giselle is my favorite romantic ballet. Although the story is set in the Rhineland in the 1500’s the ballet is a perfect example of 19th century French romanticism. Like many of its literary contemporaries such as Manon Lescaut, Madame Bovary, and les Demoiselles Camelias the heroine’s death absolved her of past transgressions. It also gave these heroines a virtue not obtained in their lifetimes- almost a deification.

In Giselle, a simple, lovestruck, peasant girl is courted by a nobleman pretending to be a peasant. The charming Count Albrecht of Sileca seduces the young girl. And when the ruse was exposed, the deception is more than frail Giselle can withstand and she dies.

Giselle is a true romantic story ballet. Here the mastery of “steps” is just the prerequisite to be considered for the role. This ballet is a theatrical production, a storytelling ballet that requires artists. Artists who can transcend the roles and make us believe we too are in an enchanted hinterland.

Someone of Albrecht’s entitled noble status believes he had the right to deceive these simple villagers to gain their trust. He  seduces and deflowers a young maiden for sport and moves on. The precision of his plan suggests this is not his first peasant mascarade, nor his first peasant maiden seduction.

When Royal entered from the autumnal forest, he exuded an innate and natural elan.’ His swagger, confidence, and charming yet overt flirtations betrayed his guise as a humble village newcomer to the omniscient balletomanes. Regardless, we all were enthralled, seduced, and eventually betrayed.

This is a quality I first observed years earlier. Royal, then a member of ABT ll, performed the role of Prince Siegfried in the Black Swan Pas de Deux at the Joyce Theater on a split bill with Ailey ll. Even then, Royal danced in pure light, a quality you can’t teach, a quality that delineates a great dancer from an important and gifted artiste’.

What really struck me not what he did, but what he didn’t have to do. In this pas de deux the male danseur, is supportive and therefore invisible. The danseur should become just the setting around a perfect jewel. That evening Royal was a platinum setting.

Flash. forward to November 2021. It was evident Royal’s radiant pure light has become a mature focus beam of pure artistry. Choreographer Marius Petipa designed an ingenious second act plot twist. The perfect example of role and class reversal; and female empowerment through deification.

A remorseful Albrecht visits Giselle’s grave. Deep in the forest, cloaked in the amenity of darkness. The Count encounters the Willis; undead women, who died untouched, and now seeks revenge on men. Giselle saves the now powerless Albrecht from their bloodlust and redeems her soul. In hindsight, I wonder if the Willis plight was their purgatory and Giselle’s forgiveness of Albrecht her penance.

Royal is convincingly transformed from patrician to prisoner. The powerless mortal pleas for mercy are denied by the Willis’ Queen, Marta (Stephanie Petersen); but it is Giselle who fearlessly intercedes. Her former earthly love for him and her stoic selflessness reprieves Albrecht. Royal masterfully completes Petipa’s plot twist as the curtain falls. In these final moments Royal expresses the sadness and angst of losing Giselle. Through his remorse we sadly realize that the player (Albrecht) has played himself. Bravo!

Although act two was also visually stunning I was not pleased with moments of the second act lighting. The upstage lighting at times seemed dark and muddy. And shades of deep blue do not always compliment darker skin tones. Thankfully the light defused spotlights with the soft edges avoided most of the problem. I’m sure this light plot was designed long before a Calvin Royal III was in contention for the role, fortunately this is a minor adjustment.

The other point of visual ambiguity was the lighting for the dawn scene. The light seemed to rise from the east, west, north, and south making it visually and geographically confusing. It was especially disappointing when the side lighting (north and south) spilled onto the Willis costumes.

Royal’s fifteen-year journey from scholarship student to ABT principal danseur has been a dancer’s dream come true. In the company’s eighty-three-year history Royal is only the second principal of African descent and the first one in over twenty-three years. In the summer New York City season (June 13th thru July 19th) Royal will perform the roles of Espada in Don Quixote, Chaereas in the New York premiere of Alexei Ratmansky’s Of Love and Rage and in Alonzo King’s quintet Single Eye (also a world premiere) One of his most anticipated performances will be Prince Siegfried in Swan Lake. A role he was scheduled to perform in the 2020 summer season opposite Misty Copeland (Odette/Odell), but that historic performance (two African Americans dancing both lead roles) was cancelled due to the pandemic.

Royal has truly broken one of ballets’ glass ceilings. During his two-year tenure as principal, Royal has become a role model; inspiring young classically trained male dancers of color to follow their dreams. We the public see his success as only the beginning, and expect the wheels of progress to move faster, giving more aspiring dancers of color a chance to live their dreams.