Ailey Citigroup Theater, New York, NY.
March 21, 2025.
Pointeworks, the San Diego-based ballet company, brought its second season to the Ailey Citigroup Theater in late March 2025. Founded in 2023, by Artistic Director Sophie Williams, the company’s mission is two-fold: to bring world-class dance to Southern California, and to elevate the voices of female choreographers and dance leadership. The NYC performances brought dancers from Texas Ballet Theater, Dance Theater of Harlem and New York City Ballet (NYCB) together to perform seven works, six of which were created by female artists. The opening night show I attended was to an almost full house, filled with a who’s who of the NYC ballet community.
There’s a true delight in watching exceptional ballet – and all the dancers in the company are certainly that. The Aliey Citigroup Theater is a small house, and the front row of seats is about six inches from the stage, so every step is visible up close. In a big theater, little wobbles or hops aren’t visible, but from a few feet away, the obscuring gift of distance doesn’t exist. However, in piece after piece, the impeccable technique of the dancers was both a treat and education in excellence.
All the pieces were lovely to watch, but Press Play (Caili Quan) and Chasing Shadows (Laine Habony) left the longest lasting impressions. Press Play was originally commissioned for BalletX, and harkens to a time during Covid lockdown when dancers worked over Zoom and the desire to gather and dance together was at its highest premium. Costumed in red, white, blue and black suits, the dancers exuded joy, play and pure energy. It was entertaining to watch, and a reminder that high quality ballet can also be totally fun!
Chasing Shadows was special for a special reason; it was the first time that three sisters (Claire, Emma and Nicole Von Enck) performed together as professional dancers. I don’t know what it’s like to dance with my sister (she quit ballet around age four), but we do share the shared pursuit of big running goals, and having that experience is deeply meaningful. The remarkable good fortune and hard work it takes for three sisters to get into companies like NYCB and Texas Ballet Theater is unusual, and to have them come together dancing as a trio, even more so. The result made me feel like a little girl again, when magic was still real and dreams unmarred by reality. It reminded me of when my sister and I would find little patches of moss and create tiny fairy worlds out of real sticks, leaves and rocks, but had to imagine the actual fairies. The Von Enck sisters, dancing the charming choreography of Habony, became those fairies to me.
Pointeworks brought thoughtful, strong, intentional dance to NYC, and showed that female-driven companies, female-driven choreography, female-driven composition, and female-driven costume design is making a firm stance in the ballet world. Buckle up and enjoy the ride, because it’s a great one.
By Emily Sarkissian of Dance Informa.
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