Page last updated: 01/21/03
Photo of Peter Boal in Equilibrium by Josef Astor.
Equilibrium (2002) A Kafkaesque solo for Peter Boal to an original cello composition by Eddie Guttman. World premiere of both choreography and music at Dance as Ever's October 2002 concerts.
Rideau (2002) A quartet set in a magical and sensuous curtained landscape to Debussy's urbane sonata for flute, viola and harp.
Gavotte (2002) Set to the music of Jean-Philippe Rameau, this modern-day gavotte is set in motion by the action that is the conclusion of the historical form of the dance -- the man kissing the woman's hand. Originally created for the Louisville Ballet's 2002 Choreographer's Showcase.
Photo of Peter Boal in Midare by Josef Astor. Graphic design by Louis Servedio-Morales
Midare (2001) A spare, elegant solo for Peter Boal to traditional Japanese Koto music by Yatsuhashi Kengyo. It was so beautiful that members of the audience were actually gasping and sighing throughout the performance. (Lisa Jo Sagolla, Backstage)
Green (2001) an aqueous quartet to Romantic-era music by Franz Berwald...lovely and lyrical, features dazzling partnerwork, amusing Balanchine references and attractive dancing (Lisa Jo Sagolla, Backstage) and radiates a loving, knowledgeable fan's appreciation of style. (Jennifer Dunning, The New York Times)
Quodlibet (2000) A pure, classical quintet that is a classical exercise with an elegant grace to music by Mozart and Weyse. (Mary Cargill, Dance View)
Summer Dance (2000) A female trio evoking the atmosphere of a northern summer day in the mountains near a lake.
Photo of Peter Boal in A Shropshire Lad by Josef Astor. Graphic design by Louis Servedio-Morales
A Shropshire Lad (2000) Created by Mr. Witchel for New York City Ballet principal dancer Peter Boal, the solo emphasized Mr. Boal's quiet intensity and his ability to hold attention with even a simple walk. (Jack Anderson, The New York Times) A most evocative new solo. . .Witchel has seized on Peter Boal's power to express in classical dancing and gesture a completely new world. (Francis Mason, WQXR) An extraordinarily moving piece. (Mary Cargill, Dance View)
The Elevator (2000) A Ballet-Vaudeville in the tradition of Jerome Robbin's The Concert. The Elevator pokes affectionate fun at some of the world's most beloved choreography by transporting it to a crowded elevator. An hilarious new ballet . . .You have to see it to believe it. (Francis Mason, WQXR) 'The Elevator' was a complete change of pace, a very funny finale which combined elevator music with parodies of classical dancing (Mary Cargill, Dance View)
Scherzo Fantastique (1999, second version) - Entirely new choreography to the same music used in 1995, the current version is a beautiful, fragile and strange waltz for a trio of women. Witchel is one of the few new choreographers I have seen who can create personality through steps. (Mary Cargill, Dance View)
Aubade (1999) Created by Mr. Witchel for New York City Ballet principal dancer Charles Askegard who danced superbly this brilliant, longing solo. (Francis Mason, WQXR). Witchel has created a short, virtuosic ballet that is both extremely musical and pure in a classical, structural sense. (Gia Kourlas, Time Out/New York)
Armature (1999) a quintet that examines the structure and anatomy of ballet. The more deeply one is in love with the nuts and bolts of the classical vocabulary, the more passionately one responds to "Armature." (Lisa Jo Sagolla, Backstage) "Armature" looks back to an old time kind of ballet that's not possessed by razzmatazz; it wants to show us ease, fluency and softness with no hard corners. (Frances Mason, WQXR) In The New York Times, Jack Anderson wrote regarding the composition of Armature, "Such a structure could inspire some choreographers to make desperate efforts to seem ingenious. But Mr. Witchel never forced effects in his ballet."
Reger-Mozart Variations (1998) - A lyrical work for three couples to Reger's score, beginning with a tender pas de deux done by all the couples in unison and ending with a long, intricate double fugue.
Runway (1998) - With fashions by David Quinn, sets by Matthew Mohr. This kaleidoscopic work involves six dancers, two fashion models, and a drag queen or two with a score that puts Igor Stravinsky cheek by jowl with house music. Like the fashion shows that inspired it, this ballets travels from daywear to bridal. A runaway success! (Deborah Quilter, Dance Spirit)
Word Become Flesh (1996) - To music by Perotinus Magnus, a quartet for women that deals with the questions of sensuality and spirituality.
Madrigaux (1994) - To madrigals by Josquin Desprez, Clement Jannequin and other French composers of the 15th century, the work is a series of linked episodes comprising the portrait of a community.
Horizon (1993) To Bach's Keyboard Concerto No. 1 in D Minor, this is a smartly choreographed neo-classical work (Lisa Jo Sagolla, Backstage) for three couples.
A Waltz Remembered (1993) - A romantic pas de deux to the second movement of Sibelius' Symphony Number 3.
Rondo For Five (1991) danced to Mozart . . .a well plotted quintet that made use of traditional ballet steps and patterning (Jennifer Dunning, The New York Times)
TAPES OF OUR CONCERTS
If you've never gotten to see Dance as Ever, and would be curious to see what all the fuss is, we have a limited number of videotapes available. They are professionally shot and edited (NTSC video format). Tapes of our 1996, 1999, 2000 and 2001 concerts are currently available, at a cost of $25 each, which includes shipping within the U.S. Our 2002 video wil be available in mid-2003.
2002 (available in mid-2003)
Att: Leigh Witchel