Dance Review: RIOULT- “The drama of Mozart lifted to new heights”

French choreographer Pascal Rioult brings his company RIOULT and a number of dynamic and diverse works to the to The Joyce Theater.  Known for his energetic choreography that draws from his experience dancing for the Martha Graham Dance Company but is uniquely his own, Rioult possesses a strong sense of traditional form and craft as well as the ability to create ambitious works that seem to extend beyond the limits of the stage. RIOULT’s current season at the Joyce Theater includes a number of premieres and repertory in Program A, as well as an evening-length piece The Great Mass, in Program B.

The Great Mass is performed in two-acts and danced to Mozart’s “Great Mass in C minor K. 427.”  Rioult created The Great Mass as a tribute to the human spirit and an exploration of the divine.  The work is a collage of powerful images that carry the audience along on a spiritual journey.  Although there are very few original ideas or exceptionally innovative movement phrases in The Great Mass, the dancers give emotional performances that demonstrate a range from subtlety to complete abandon. Dancer Robert Robinson is exceptional and at times steals the show; he executes every movement as if delivering a sweeping solo, even though he never misses a beat and is perfectly in sync with the other dancers.

Mozart’s “Great Mass,” as with most of the brilliant composer’s work, is moving all on it’s own.  Rioult has the difficult challenge of choreographing a dance work that can create the same epic, monumental, drama that is already inherent in the music. One of his solutions is to utilize large set elements; long stretches of white fabric are strung across the back of the stage during The Great Mass, creating large horizontal stripes on the backdrop.  Throughout the piece, Rioult draws the audience’s attention to the fabric.  In the beginning, dancer Jane Soto holds one end of a long train of the white fabric and travels slowly across the stage, covering the bodies of the rest of the dancers as if laying them to rest.  Towards the middle of the dance, red lights are brought up behind the fabric, and together with the white stripes, the fabric forms creating a slightly militaristic atmosphere as the dancers march downstage slowly and abruptly crumble to the ground one by one.  For a brief moment towards the end of the work, the dancers enter the stage behind the fabric and duck under the lowest stripe in order to spread out and fill the stage.  These theatrical images are carefully crafted and thoughtfully placed to highlight the swells in Mozart’s music.

In attempting to have the dancing match the music, most of the choreography in The Great Mass pushes the sense of drama too far.  There are wonderful moments of subtlety in the beginning of the work, where dancers pause occasionally facing front and look intently at the ground.  These introverted moments of reflection are more powerful than the grandiose group sections, some of which involve the dancers in a tight clump center-center groping at an unknown god above who shines down on them in the form of a strong center spotlight. Rioult’s innovative set-design and interesting staging would be better complimented by the more humanistic, rather than divine, aspirations of his movement.  Rioult’s strength is his ability to make an audience empathize with the dancers, and I would have liked to see their human struggles within the world of The Great Mass, rather than their attempt to reach beyond their world and into the realm of the unknown.

 

iDANZ Critix Corner
Official Dance Review by Tze Chun
Performance: RIOULT
Choreography: Pascal Rioult
Venue: The Joyce, New York City
Performance Date: January 24^th, 2010
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Dance Review: Soaking WET at the West End Theater

A refreshing variety of dances by emerging and experienced choreographers, Soaking WET brings downtown modern dance to the Upper West Side.

An ongoing series produced by David Parker and Jeffrey Kazin, Soaking WET presents shared-bill and single artist performances at the intimate West End Theater.  The current installment of Soaking WET showcases the work of Christopher Caines, Kelli Edwards, Marta Miller, Ainslinn Macmaster, Tiffany Mills, Kristi Spessard, and Katherine Longstreth, with special performances by Amber Sloan.

West End Theater, located on the second floor of the Church of St. Paul & St. Anthony, is the perfect size and space for the Soaking WET series.  The seating is limited to a few rows of raised pews, which offer a perfect view of formations and floor work.  Several columned archways serve as a dramatic backdrop to the curved stage area, and the walls extend a few stores high to a domed ceiling.  The program, curated by David Parker of David Parker and the Bang Group, reflects his company’s own sense of humor, musicality, and physicality.

Thursday night’s performance included the works Owe by Miller and MacMaster, LandFall by Mills, This is What We’re Doing Now by Edwards, and Suite from ARIAS by Caines.  The duet Owe, choreographed and performed by Marta Miller and Aislinn MacMaster, explores a complex and multi-faceted relationship between two women. Miller and MacMaster, who have been dancing together for over a decade, carefully craft vignettes that span a range of emotions and associations.  The dancers slow-dance, wrestle, embrace each other, and almost strangle each other, with precise movements and a strong sense of intent.

Tiffany Mills’ LandFall is a powerful solo performed by Petra van Noort, who balances small isolations of her torso and wrists with large sweeping motions.  LandFall is the least narrative of the works in the program, and Mills creates a psychological landscape in which van Noort searches for herself and possibly a way out.

Kelli Edwards’ This is What We’re Doing Now is a strikingly sincere modern dance piece in which a trio of dancers- Johan de Besche, Irene Lutts, and Edwards herself- travel along a clear and satisfying choreographic arc.  The piece, set to various Lieder by Schubert, opens with the dancers taking a moment to quickly prepare themselves in plain view of the audience.  As they briefly adjust their costumes and nod to each, they set the tone of the piece; the audience enters into the dancers’ world, experiences the movement empathetically, and feels involved in the dancers’ story.  The dancers then whisk through a whimsical and musically sophisticated series of phrases.  Edwards combines constantly changing formations and cannons fluently and with ease.  The piece then transitions into a number of duets, during which the third dancer sits to the side and observes.  These duets are intimate and grounded.  The dancers move each other’s limbs, use each other’s weight, and at times simply support each other.  Although the dynamics and relationships between the dancers in the duets change throughout these partnering sections, Edwards maintains gentleness and inquisitiveness in the task-based movements.

The evening concluded with Christopher Caines Dance Company performing Suites from ARIAS.  Set at a cocktail party, the piece opens with dancers greeting each other cordially and clinking champagne glasses.  Caines’ mixture of waltz steps and pedestrian gestures with darker elements (two dancers stepping over the sprawled body of a third dancer comes to mind) is a bit confusing.  The audience would be more inclined to journey into abstraction with Caines’ dancers if the piece returns to the cocktail party narrative throughout the work.  Nonetheless, dancer Wendy Joy Reinert’s stunning performance showcases Caines’ musical sensibility and graceful phrases.

Be sure to check out the next installment of Soaking WET, which returns to the West End Theater May 13-16^th with works by Deborah Lohse, Oan Spencer Bell, and Ben Munisteri. 

iDANZ Critix Corner
Official Dance Review by Tze Chun
Performance:  Soaking WET
Venue:  West End Theater
Show Date:  January 21, 2010
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Dance Review: Disappointment at The Joyce

This is the second time I am seeing Pascal Rioult’s company, Rioult perform at The Joyce Theater, and I must say that I am somewhat disappointed this time around.  Based on my experience from last year, I had been anticipating beautiful long-legged dancers who create pretty lines with the attractive but somewhat standard choreography they are given.  This time around at The Joyce I am left feeling detached and unfulfilled by the performance.  Although the dancers are still long-legged and beautiful, the combination of musical and choreographic choices  are uninspired and unoriginal.       

The first piece of the evening, Harvest pays homage to the pre-impressionist painter Jean Francois Millet and to people who tend the land.  Although the theme is powerful, it feels as if Mr. Rioult has taken choreography from several different pieces, in particular Martha Graham’s Appalachian Spring, and does not change it too much for the piece.  Although it’s true that all choreographers get inspiration from past choreographers, there still needs to be an element that differs from everyone else; otherwise, what is the point in creating a dance that has already been done before?  The other problem that I makes me feel detached from the piece is the music.  Don’t get me wrong-  Dougie MacLean’s music from “Fiddle” and Altan’s “Flower of Magherally” from The Red Crow are both poignant and beautiful, but the songs sound similar.  Because of their likeness, there is no variation in the music throughout the entire piece.  Despite the fact that the dancers move passionately in several parts of the piece, including a touching duet between Marianne Tsartolia and Michael Phillips, the passion gets lost because of the music.  This problem could have been solved if there had been changes in the music.  Despite the problems with the piece, Anastasia Soroczynski commands a powerful presence.  Her striking movements are clear and right on point.  The major highlight of the piece is the lighting created by David Finley.   Mr. Finley is able to capture the essence of a laborer in the fields with his beautiful backgrounds of pastel colors.

After intermission is the world premiere of Shadow Box. Unfortunately, Shadow Box possesses  the same problem with the music as Harvest does.  The music is from Bach’s “The Well-Tempered Clavier.”  In general,  the entire piece sounds the same, with little variation.  Despite the fact that the dancers are doing diverse choreography, it doesn't feel like the piece goes anywhere.  The projections on the wall depict the dancers’ shadows doing choreography.  The dancers dance in front of and behind the shadows, either repeating the same movements that the projected shadows are doing or slightly changing the choreography.  The dancers wear lycra shorttards (leotards with shorts attached), with white fronts and black backs.  Marianna Tsartolia really stands out in this piece.  With her lithe body and expressiveness, she is able to bring life to the abstract piece.  The most interesting part in the piece is when the dancers move directly in front of their shadow so it looks like the dancer and the shadow are melting into one entity.  My biggest complaint of the piece, once again, is the musical choices. Although the live pianist, Hsiang Tu, is a wonderful musician, Bach’s music does not add anything to enhance the meaning or the quality of the piece and may have even lessened the effect. 

City is the second world premiere of the evening with music set to Bach’s Sonata for Violin and Piano #6 in G major.  The overhead projector provides the backdrop for the piece which depicts images of New York City.  Brian Clifford Beasley’s beautiful images capture the essence of a city, with views of the skyline, the streets and the people.  Despite the lack of musical or choreographic variation, the dancers are able to make the best out of the situation.  Each dancer possesses a certain sense of confidence, but not in an arrogant way.  Their personalities are different in a unique way, adding to the urban feel that Mr. Rioult is striving for.  Although there is a certain amount of drama, the passion is swallowed up by the unchanging music. 

The final piece of the performance, Bolero, saves the night!  Maurice Ravel’s Bolero helps to carry this piece to a higher level than the rest.  Similar to the repetitions which are found in the music, Mr. Rioult chooses to repeat the same steps throughout the entire piece, but despite this repetition, or maybe because of it, the piece is a mesmerizing masterpiece.  The four men and four women in the piece dance as a company, but then break off into solos as the spotlight changes from dancer to dancer.  The dancers’ movements are sharp and militaristic, but break off into sensual curves as the piece progresses.  The performance ends on a strong note because Bolero manages to save the night. 

All in all, Rioult has the potential to be a great dance company.   The eight company members are strong dancers, in particular the women.  They are technically strong dancers who have a lot to offer.  Mr. Rioult also has the potential to be a great choreographer.  He has the knowledge and experience to create interesting dances.  My advice to him would be to trust himself more and rely on other choreographers less.  If he stays true to himself,  he will be better off in the long run.  I am definitely not a fan of the music choices he made for the performance, but this is a preference that others may not share with me.  I enjoy mixing music to create a diverse soundtrack of sounds and textures.  For Rioult, his inclination to introduce only one song or sound into the music is the deal breaker for me. 

iDANZ Critix Corner
Official Dance Review by Amanda Keller
Performance:  Rioult Venue: The Joyce Theater
Choreographer: Pascal Rioult 
Show Date: January 19, 2010
www.iDANZ.com

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and supplies to victims in this crisis?
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Dance Review: Jazz Ain't Dead Rips APAP 2010 Showcase

On Sunday, January 10, 2010, I head downtown on the 1 train to Dance New Amsterdam, as they host a slew of cutting edge New York City dance companies in the 2010 APAP Showcase!  Not gonna lie... Dance New Amsterdam’s address is very confusing, and I find myself walking around aimlessly wishing for an iPHONE or some other sort of gadget that will lead me straight to the doorstep of DNA.  Instead, I curse at my Zack Morris-esque Verizon cell phone.  However, a quick phone-call and slice of pizza later, I am being greeted by the front desk of DNA, aka two chicks in snuggies.

Upstairs is a frenzy of activity, a feeling I miss since not having performed in awhile, that pre-show anticipation.  Girls and guys going over choreography, putting on their make-up, ironing costume pieces…. It’s no wonder we love this business!   I feel the excitement and energy racing through my bones. Although there are several companies that I had the privilege of watching, what I believe to BE the most fun piece of the night is Candice Michelle Franklin’s JAZZ AIN’T DEAD.

Jazz Ain’t Dead brings DNA alive with its brand new fiery orchestrations of Porgy and Bess songs…Jazz standards with a house beat and funky atmosphere.  Opened by M.C. Michael Forde, a chicly dressed hype man complete with fedora and booming voice, the piece teaches us a little about the history of Gershwin’s Porgy and Bess and the significance it has had on not only African Americans, but jazz music, and the profile of the America that we are today.

Downstage of the live jazz band and vivacious lady singer, Kenyetta Coffee, golden-clad dancers are on and off the stage like wack-a-mole heads… one minute you see them, the next you don’t!  Franklin creates an intricate web of action that leaves you screaming out things like “She better work!!” or “GET ITTTT!!!”  Fierce legs, gorgeous turns, hot unison sections, wild hair, and sexy partnering all took their place in the “circus” that Franklin calls it with a laugh.  Not to mention the entourage of audience members who make their support warmly felt throughout the performance!

 

 

 

I also really appreciate the freedom Franklin gives her dancers to show off their  “tricks” without shame!  So often in the concert world, we get so stuck on our stuffy definitions of artistry that we shun elements that are truly difficult and can be so much fun to watch.  Franklin claims that she wants to emulate the feeling of Jazz music and the way the genre is performed in the tradition of its musicians in live performance… when the musicians are allowed to “do their thang”, why shouldn’t the dancers!!?  Amen!

The end of the piece brings the entire house down to standing ovation as DJ NYCK Henry spins for the curtain call while the band gets to jam and the hype man conjures more applause from the audience, leading into the ending choreography with the whole ensemble in a wild exciting frenzy!  Kudos JAZZ AIN”T DEAD.  It certainly isn’t!

Photography by Crystal J. Wilson

iDANZ Critix Corner
Official Dance Review by Sheena DiMatteo
Performance:  Jazz Ain't Dead, Celebrates the Legacy of Gershwin's Porgy & Bess 2010 APAP Showcase
Venue: Dance New Amsterdam, NYC 
Choreographer: Candice Michelle Franklin
Show Date: January 10, 2010
www.iDANZ.com

Band Members:  Mansa Gory (Trombone), Teodross Avery (Tenor Saxophone), Jimmy Lopez (Congas), Travis Antoine (Trumpet), Gabriel Jennings (Djembe), Chad Giles (Soprano Sax), Kenyetta Coffee (Vocalist), Billy Davis (Vocalist)

Dancers: 
Jerome Melsaun Warren
Chelsea Arce
Anthony DeCarlis
Caroline Banks
Demar Braxton
Careitha Davis
JoiLynn
Youthen Joseph
Shakirah Stewart

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 MSF/Doctors Without Borders has been working in Haiti for 19 years, most recently operating three emergency hospitals in Port-au-Prince, and is mobilizing a large emergency
response to the Haiti/earthquake disaster. 
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and supplies to victims in this crisis?
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Dance Review: APAP with David Dorfman

In the elevator of the Baryshnikov Arts Center I am met with an exorbitant amount of energy. “I hope we’re not late late late! I want to see him sooo badly,” chirp the people crowded in with me. David Dorfman’s new work-in-progress is entitled The Prophets of Funk and my elevator mates are just as eager as I am to see this profound prophet of dance theater at APAP on Sunday January 9^th.

Entering as the newly incarnated piece begins, Dorfman stands in 60s duds and heeled clogs talking about the company’s plans for the piece’s development.  In between his musings, he intersperses lines from Sly and the Family Stone, “if you want me to staaay I’ll be around todaaaay to be available for you to seeeee.”  After mentioning that the final stages of this piece may * fingers crossed *involve performing with Sly and the Family Stone, the remaining company members join him on stage for a "band picture."

Dorfman kneels to take the picture as the red spandex, rainbow colored, bell-bottomed donning company member’s boogie into a tableau. One dancer begins subtle isolated movements while speaking about how prophets "take your mind to the future but your body’s still here." Her body control matches her control of her voice.  Never booming or startling but equally powerful, she wields them in a way that reeks of anything but newness.  The company’s history of delving deep into the worlds of both dance and theater to ignite emotional and physical responses from their audience pervade The Baryshnikov Arts Center now.  So while this piece may be new, it reflects merely an application of the company’s securely founded process.

The tableau disbands and before her melancholy message resonates, the company explodes into dance so perfectly full of life and vitality I laugh at how much MTV music videos lack.  Dorfman cheers the company on as the group works through unison, trios and duets.  With hugely experimental partnering and effortless weight shifts, I can’t imagine how this will develop over the next few months/year.  In one moment, the company stands in a straight line with a male company member professing a lengthy diatribe with the finesse of slam poetry.  As he approaches the line’s end, a particularly fetching female dancer brings his first stuttering.  Not immune to this choreographed distraction the pair begins circling each other like mates in a forest, sexual energy building with every moment.  As living, breathing playground pieces they crawl, roll and climb with a voracious appetite for movement and each other.

A very promising new piece, David Dorfman's "work-in-progress," The Prophets of Funk, starts high out-of-the-gate, keeping Dorfman fans salivating for more...

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance:  APAP
Compay: David Dorfman Dance
Venue: Baryshnikov Arts Center
Show Date: January 9, 2010
www.iDANZ.com

 

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