Icons Night

“Icons Night” presented by Paul Taylor American Modern Dance featuring Trisha Brown and Isadora Duncan. What a wonderful evening!!!

“Esplanade” by the Paul Taylor Dance Company was absolutely stunning.

I’ve seen the piece before, but watching it from first row orchestra was a completely different experience. It was incredible to see the facial expressions on the dancers, and to be only feet away from the the amazing actions.

In the opening scene, with much energy and spirit, eight dancers ran in circles, skipped, rolled, flew across the stage, and weaved in and out of intricate patterns. I love not just the exuberance of the individual dancers but also the connection between them, as they created the most happy and uplifting experience on stage… a celebration… a festival… devoted to the joy of dance.

Michelle Fleet opened (and later closed) the choreography. Overflowing with positive energy, her body language said to the audience: Don’t you blink and miss a single moment!!! With a big smile and much warmth, Eran Bugge welcomed the audience, invited us to join the celebration, and experience the joy of dance together with the dancers. The mood on stage eventually changed, and Heather McGinley brought intense emotions into the piece.

Saving the best for the last, the final scene of Esplanade was a non-stop sequence of stunning movements, aerials, runs followed by slides across half of the stage, spectacular leaps and sensational mid-air catches.

The most incredible thing about the closing sequence (and why I looooove this company) is that all the movements were initiated from the center of the body. The dancers fell into the movements as if pulled by gravity. Unlike ballet, where dancers fight gravity in order to stay balanced, stand tall, and take off from the ground, here the Paul Taylor dancers “simply” let gravity take over. Their movements looked remarkably natural. Yet, as they were pulled off balanced, they gained so much momentum that they were able to zoom across the stage, propel themselves into the air, throw themselves onto the ground, into each other, and bounce right back… and not hurt themselves!

As I watched “Set and Reset” by Trisha Brown for a second time tonight, the choreography grew on me. I still loved the overall feel of the piece: fluid, dynamic, organic. Being able to see the dancers’ expressions, how they relate to one another, made me appreciate the piece so much more. The beauty of the piece, much of it in the subtle details of how the dancers interacted rather than the overall patterns, came pouring out tonight. Bravos to the Trisha Brown Dance Company for a lovely performance!!

Eventide

Paul Taylor Dance Company: Absolutely Wonderful performance tonight on my first of five (or more!) visits to their season at the Lincoln Center.

Absolute looooovoed “Eventide”!!! The choreography tells the stories of five couples.

I love the emotions and the human experience in the stories. The beautiful bond between Jamie Rae Walker and Sean Mahoney in “Christmas Dance.” The exuberant, affectionate, honeymoon-like “Moto Perpetuo” filled with dynamic movements between Heather McGinley and Michael Novak. The elusive love, the missed connection between Eran Bugge and Robert Kleinendorst. The care for each other, but also the heavy weight in the relationship between Parisa Khobdeh and Michael Trusnovec.

I also love the movements, which included numerous steps from historical and social dancing (e.g., polka mazurka!), elegantly choreographed into the narratives, and beautifully executed on stage.

As a dance photographer, I thought the lines in Eventide were goooorgeous. The lifts, dips, arm and leg extensions, couples coming together, spinning around each other, the facial expressions, the connections, the patterns created by five couples. The choreography is filled with moments after moments that would make a stunning photo.

Closing the night, “Mercuric Tidings” was powerful, energetic, filled with amazing leaps and turns. Its plotless “music visualization” was a huge contrast to Eventide that preceded it.

Opening the night, “Set and Reset” by the Trisha Brown Dance Company was lovely in its opening scene. I loved how fluid the piece felt. The dancers moved freely across the stage, gently connected as they passed each other, spun around each other, and from time to time, effortlessly lifted each other into the air. The choreography became somewhat repetitive in the second half though, and I never quite got the connection between the movements and the four overhead video projections.

Overall though, it was a wonderful program. Can’t wait to go back again tomorrow for the TaylorNext Night!

Trisha Brown Dance Company

Trisha Brown Dance Company at the Joyce Theater.

I’ve been waiting for this show since I last saw Trisha Brown at Fall for Dance!

A theme of modern dance is weight shifts. In all three choreographies today, Trisha explored and pushed the boundary of not just weight shifts by a dancer but weight sharing between dancers. She showed us smooth, beautiful, and elegant transitions, lifts, counterbalances, and dynamics — that felt both natural and surprising. Natural because the dancers moved as if they were guided by nothing other than gravity. Surprising because the gentle gravity built up to powerful momentum, and momentum shifted seamlessly from dancer to dancer.

I love her use of groups of dancers, especially the section when all ten company dancers moved together in “Groove and Countermove”. The dancers were never in sync, yet they were keenly aware of each other’s presence, moved with each other, as if all ten bodies were connected as one.

I also enjoyed the small section in “L’amour au Théâtre” when Cecily Campbell, Kimberly, Leah Ives, and Amanda Kmett’Pendry formed beautiful visuals and patterns.

The flutist in “Geometry of Quiet” did an incredible job supplementing the movements with unusual sounds that resembled heavy breathing, among other notes. Other than being unusual, however, I didn’t feel the music contributed significantly to the choreography.

Fall for Dance: Day Two

Seeing Michelle Dorrance with my amazing tap dance teacher Tony Mayes!

Miami City Ballet brought out the best of Christopher Wheeldon’s choreography. Love how the dancers defy gravity in Polyphonia.

Trisha Brown’s two dancers are as incredible as yesterday. It’s amazing how they stay so synchronized and connected despite dancing the majority of the choreography facing away from each other.

Still deeply impressed by the creativity and amount of energy in Vincent Mantsoe’s work!

Fall for Dance: Day One

Fall for Dance opened tonight at New York City Center with four amazing performances.

Dorrance Dance was stunning. I love how much life, character, and personality Michelle Dorrance gives to tap dance.

The dark horse of the night goes to Vincent Mantsoe in his solo work “Gula” (or “Bird”) where he brought to life the movements (and singing!!!) of a free-spirited animal. The opening fog was really cool, but I wasn’t sure how it was related to the rest of the performance?

Learnt more about (post-)modern dance with Trisha Brown’s “You Can See Us”! I much enjoyed seeing more of how dance was developed in the 20th century.

With incredible precision and techniques, Miami City Ballet opened tonight’s performance with Christopher Wheeldon’s “Polyphonia.”