Out of This World in More than One Way It’s hard to imagine Ryan McNamara’s Battleground performed anywhere but in the Guggenheim Museum’s subterranean theater—in fact, McNamara himself says that the “sci-fi cosplay house-music ballet-battle” fell into his mind the moment he saw the space. All nine performers are credited with creating the work in collaboration with McNamara and they use every inch of the theater—stage, aisles, balcony, columns, choir loft and areas the audience traverses to reach their seats. “Don’t get up, “I cautioned my companion, “or you’ll be in it.”
The evening’s big attraction was Star Dust, a ballet tribute to David Bowie. But to reach that gem, the audience first had to deal with Gutter Glitter, an “abstract landscape of contrasting ideas,” the first installment of choreographer Dwight Rhoden’s Collage Series. To recognize the dancers as extraordinary is an understatement. However, the work was disjointed and danced to music that didn’t connect to it, especially the bits that sounded (intentionally) like broken glass. The movements, with many enormous extensions and sinuously stretched arms and legs, didn’t make me see or understand what was meant by “discovering the light in darkness.”
New York Theater Ballet continues to forge ahead. Now in its thirty-ninth season, NYTB brings new ways to look at classics together with the opportunity to see work by up-and-coming choreographers. Legends & Visionaries, presented as a tribute to the late David Vaughan, dance archivist, historian and critic, began with sweetly moving remarks by NYTB company founder and artistic director, Diana Byer, Vaughan’s friend and mentee.
First up, an entirely delightful amuse-bouche minus title or program reference with Jeffrey Kazin, co-producer of The Bang Group, clapping the rhythms and Chelsea Ainsworth in pointe shoes tapping to the beat. As Kazin clapped an elaborate pattern Ainsworth echoed it; the couple then moved from the feet up the body incorporating other takes on percussion as she drummed on his torso and he slapped the ground. Juilliard grad Ainsworth was back in Two is You and deserves a shout-out for her expressive approach that maximizes every step.
According to choreographer Maria Bauman, the work is a meditation on various kinds of endings, positive and negative. Bauman, Gibney Dance’s 2017 Community Action Artist in Residence, says she feels charged with alive-ness while at the same time embracing the paradox of multiple deaths happening every moment; dying and dying and dying is the result of dancing that paradox.
first saw Monica Bill Barnes performing Three Acts, Two Dancers, One Radio show and was charmed. Besides their obvious physical skills, Barnes and her sidekick, Anna Bass, were full of humor with an underlying sweetness pleasantly at odds with their somewhat tough physiques and staccato moves. Then I participated in The Museum Workout, following Barnes and Bass through galleries, up and down stairs at the Metropolitan Museum of Art, a group of us running and stopping to pump arms along the way which was an entertaining experience if not my ideal approach to enjoying art.
The desert blooms in wondrous ways with all manner of flora and fauna in Momix’ Opus Cactus, conceived by Moses Pendleton. The company members, self-described as “illusionists” are as athletic as Olympians. During the performance they appear as giant saguaros, tumbleweeds, fire dancers and a four-person, slithering Gila monster, with all these figures emerging from an ingenious use of costumes, lighting, and the human body. Mostly it’s about the suppleness of the dancers (though some argue that this isn’t exactly dance) and their staggering physicality. Very creative costumes and lighting also contribute.
The famed Radio City Music Hall Rockettes, that high-kicking, glam- or- bust line of tap dancing women, began in St. Louis as the Missouri Rockets. The troop was brought to New York City to perform at the Roxy Theater where they were known as the Roxyettes and then, as part of the Christmas spectacular, came to Radio City, where they were rechristened The Rockettes.