Ballet’s fate has recently become an issue of popular debate thanks to Jennifer Homans’ Apollo’s Angels: A History of Ballet (November 2010). The author’s bold assertion that ballet is dying is a call to arms for choreographers like Lynn Parkerson, who has been ready and willing to answer for years. In line with this current preoccupation with ballet history and Homans' dire diagnosis, Lynn offered a curatorial nod to ballet’s past conditions and current vivacity in March.
This year Brooklyn Ballet Company rehearsed in the new studio in Downtown Brooklyn, unveiled the new performance space at The Schermerhorn and premiered four sections of a work-in-progress. Talk about progress and productivity!
After a nearly two-year-long hiatus, Lynn recruited dancers and returned to the studio to continue her exploration of ballet's relationship to other dance forms, artistic mediums and broader cultural questions. Building off of a duet between Kerry Shea and Mike "Supreme" Fields, she expanded her cast and extended the work by observing improvisational exercises and playing with classical pas de deux.