I want to say that words fail to describe Miguel Gutierrez’s latest work at DTW, Last Meadow, because it is humbling to think about its sheer scope, even more so to reduce it to a bunch of words after watching one performance. And yet, even though it is foremost experiential, there is a generous amount of structure to deliberate as well. It meanders, barrels ahead, stops for breaks, flows lyrically, evolves, and devolves over the duration of its packed 90 minutes.
Gutierrez somehow creates work that you feel in your gut and your heart, and at the same time your brain works feverishly to process the layers of text, subtext, examination of the performance form itself, and endless experimentation with the powerful, often overlooked areas of sound and lighting. The loose pretexts for this show involve James Dean’s films, the father figure in America, as America, and confusion as “a potentially transformative, sensory-enlivened state,” per the program. Gutierrez has never lacked for ambition, and at first glance, these topics would seem far too large and disconnected to allow for any cohesion whatsoever.
And yet Gutierrez links the opening scene ramblings of a depressed Cal, Dean’s character in East of Eden (the amazing Michelle Boulé in a tour de force performance), with his own straight-laced father character by means of his own long, rambling monologue whispered into a mic. read more
Pam Tanowitz’s Be In the Gray With Me (at DTW through last Saturday) is a major step for this choreographer whose work has been shown in New York for years, but in primarily smaller venues. Tanowitz has made a piece (video clip after the jump) that speaks not only about dance and its history, but also about the very nature of a theatrical dance presentation. It feels somehow of the moment, and yet timeless; simple and elegant, yet inquisitive on many levels. read more
Christopher Williams’ latest project that closed last weekend at DTW, entitled The Golden Legend, flies in the face of just about everything conjured up by the phrase “New York contemporary dance.” This cycle of male saints, following Williams’ memorable project for female saints a few years back, comprises solos performed by well-known dancers, plus supporting characters. It is dense with history and religious iconography, and epic in scale, with 17 solos. It has live music performed by a chamber ensemble and members of vocalists playing and singing early music plus new songs by Gregory Spears and Peter Kirn.
More high mass in feel than dance performance, the setting is defined immediately by 20 or so tall-backed chairs lining the sides of the stage. A processional down the aisle steps lets us view close up the amazing handiwork and detail of the costumes, created by Williams and team. But the seriousness of a mass is immediately deflated (or inflated?) by the cheeky first solo by David Parker as St. Thomas, diva-like and bathed in rose light (by Joe Levasseur). read more
Dance showcases can be a bit of a gamble. It’s all part of the experience, but mixed in with choice discoveries can be less compelling ones. An abundance of budding talent and a strong democratic streak (or a weak curatorial hand) can mean too-long shows. And in this city where on any given night you can choose between several promising dance performances, time is of the essence. For these reasons, The Barnard Project at Dance Theater Workshop April 23-25 is particularly enticing.
Four accomplished choreographers with intriguingly different styles have spent the semester setting works on several dozen Barnard dance students, who perform the results this weekend at DTW. There’s Nora Chipaumire, originally from Zimbabwe, who mixes a powerful style with threads that connect to her African heritage and its rich cultural and political potential. Susan Rethorst, a longtime presence on New York’s dance scene, splits her time between New York and Amsterdam. Her recent work for her female company transplanted her living room to Danspace Project’s stage at St. Mark’s Church. read more
There’s something about Ivy Baldwin’s work that’s transporting. It could be the movement, which shifts between childlike play and virtuosity. It might be the attention to detail in every element, from lighting to set to sound, including a settling overture. It might be the five engaging performers, including Baldwin. In all likelihood, it’s everything assembled and polished til it gleams.
Baldwin’s new work at DTW, Bear Crown, which closed this last weekend, makes the cavernous theater look wonderful. The velvet curtain sits closed for the overture (music by Justin Jones), with shimmering, hypnotic chords easing our minds into place for the performance. It opens to reveal a three-tiered, semicircular, wood platform (by Mendel Rabinovitch) flush upstage. Downspots cast light-columns on the wall, and Chloe Brown’s essential lighting imbues a golden glow over the proceedings. The setting is formal and monumental. read more
Chances are that if you live in New York, there aren’t enough hours in the day. If you’re into culture, you have a to-see wish list a mile long. Even dance, which tends to have less events nightly than other genres such as music, theater, art and film, has so much to offer that you can pick from a half-dozen at a time.
The DanceNow festival now at DTW can help. Founded by Robin Staff and Tamara Greenfield, over the course of six programs it offers 65 choreographers and 40 new works. The emphasis is on younger artists working in modern or hybrid forms, rather than more traditional non-modern genres. But it doesn’t exclude older artists; there are two 40Up programs plus four “Base Camp” showcases. Each night features twelve artists contributing short works; tickets are a reasonable $20 in advance and $25 at the door. read more
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