Dance

Dance

From the Lenape to the L Train: Elisa Monte Dance at the Flea Theater, November 21, 2019

The evening was glorious with eight beautiful dancers moving effortlessly through three movements that relate to the “world’s melting pot of culture, New York City.” Before the performance started, Tiffany Rea-Fisher, the company’s artistic director, took the audience through a lot of technology involving cell phones and an app that had to be downloaded and installed on phones. It may have deepened the experience for some but I thought it awkward, unnecessary—and mostly unworkable. Millennials probably loved it.
Dance

Works & Process Rotunda Project at the Guggenheim: Dance Theater of Harlem at 50

“The arts ignite the mind, they give you the possibility to dream and to hope."  So said Arthur Mitchell, founder of the Dance Theatre of Harlem. The company made its official New York debut in 1971 in the rotunda of New York’s Guggenheim Museum. To celebrate the Guggenheim building's 60th and Dance Theatre of Harlem's 50th anniversaries, Works & Process, the performing arts series at the museum, presented a Rotunda Project that acknowledged Mitchell’s death in September, 2018 by including a restaging of his Tones II by former DTH principal ballerina Lorraine Graves with assistance from former principal ballerina Caroline Rocher.
Dance

Under Siege by Yang Liping Contemporary Dance at Lincoln Center’s Mostly Mozart Festival

Hundreds of silvery scissors hang above the stage in rows, gently swaying and giving off a tinkling metal sound. These scissors have a life of their own, rising and descending, sometimes in voluptuous swoops. On the right a woman sits amidst a pile of white material, cutting the fabric into Chinese characters which she holds aloft. Each time she does this the English translation of the characters appears on screens, introducing a segment of the performance.
Dance

Mark Morris Dance Group at Mostly Mozart

Watching Mark Morris’ dancers swoop and soar in V, (the number five, a reference to the number of musicians playing Schumann’s Quintet in E-flat major) was entirely thrilling. There are no stars in the company so the group has to work very hard—they do but it doesn’t show. The work is a pure representation of dance integrity.

Dance

Amanda Selwyn Dance Theater: Crossroads at New York Live Arts

Crossroads, the premiere of an evening–length work in three parts with choreography by Amanda Selwyn and company is abstract with a focus on decision-making and what an often disturbing process this is. It was exhilarating to watch the very well-tuned dancers move in solos, duets, trios, and sometimes as a complete group, each showing inner strength while maintaining an essential understanding of personal place and where their bodies fit into the space.

Dance

Lydia Johnson Dance at the Ailey Citigroup Theater

It was with relief that I greeted the final number on the program. Undercurrent, set to music by Henryk Gόrecki, woke up, enlivening me, the audience at large and also seemingly the dancers who had previously drifted through a series of works that I found bland and somnolent. Undercurrent raised levels of power and energy with repeated prancing steps, first danced by groups of women and later by the company’s men.

Dance

Dance x 3: Ballet Hispanico and Magritte on Hats, Isadora Duncan and the Greeks, Tap as High Art

Two big hits out of three made for a great evening. Sombrerisimo, a total delight, is choreographed by Annabelle Lopez Ochoa, inspired by the surrealist world of René Magritte who famously painted bowler hats. The work was made originally for an all-male cast; this version turns it upside down with Shelby Colona, Jenna Marie, Eila Valls, Gabrielle Sprauve, Dandara Veiga and Melissa Verdecia pulling off a bravura number.

*

Dramatic and innovative, even to the point of changing her name from Angela to something more exotic, Isadora Duncan helped free ballet from restrictions and in doing so became one of the earliest proponents of modern dance. At twenty-one with very little money she sailed on a cattle boat to England and there, at the British Museum, fell  for ancient Greek sculpture in a big way. The result was barefoot young women in skimpy clothing dancing with abandon—which drew huge crowds and lots of attention. 

*

Tap dancing was once dismissed as lightweight entertainment, for example Fred Astaire, who delighted zillions of people, great art or not. Then came artists including the astonishing Savion Glover; now there is Dorrance Dance, the company that has won numerous awards for pushing tap rhythmically, technically and conceptually. Founded in 2011 by artistic director Michelle Dorrance who became a MacArthur Fellow in 2015, Dorrance Dance blows the lid off the form. 

WP2Social Auto Publish Powered By : XYZScripts.com