Performing Arts: Dance
  FALL FOR DANCE PROGRAM #5
October 14, 2015
Besides the magnet of the low price, City Center bet on the smorgasbord appeal of mixed programming for Fall for Dance. The final program of this year’s enormously popular series offered a variation on a plot within a plot - a smorgasbord within a smorgasbord. With the exception of Boston Ballet’s Pas de Quatre, Leonid Yakobson’s 1971 ode to romantic classicism, the other three choreographies mix styles. Sharon Eyal and Gai Behar’s Killer Pig performed by L-E-V alternately suggested a dirge and a romp in a sanatorium in which seven patients move with liquid ease. Suddenly, one man circles the room in balletic leaps and turns, after we had become accustomed to seeing contorted, low to the ground swaying, and cakewalk struts. (This work was seen on the monitor due to a late arrival.)

Bill Irwin collaborated with Tiler Peck and Damian Woetzel who had commissioned their duet, Time it was/116, for the Vail International Dance Festival. These two virtuosos, Irwin, an unsurpassed vaudevillian clown, and Peck, a remarkable ballerina, are alternately stunned to encounter each other in their space, dancing solo because the other flees, or shyly but gallantly attempting to dance together. This piece, set to either a metronome, silence, or a violin by Johnny Gandelsman, gives a flash back to the amusing Irwin/Charlie Atlas video called “As Seen on TV” in which Irwin falls into a tv and bumbles his way through sitcoms.

Boston Ballet’s Pas de Quatre is a sumptuous affirmation for the 19th century ballet aesthetic, and for the merits of holding to one style at a time. Yakobson’s choreography offers a cohesive dance for four wonderful dancers, Maria Baranova, Erica Cornejo, Ashley Ellis, and Misa Kuranaga, who begin and close the work holding hands, while weaving delicately around each other. Their heads continuously fall to one side or to the back as though each movement prompted an emotive sigh. Yakobson, a Russian Jew, choreographed for the Bolshoi Ballet until his death in 1975.

Flamenco/classical Spanish dancer Jesus Carmona closed the program with Impetu, a US premiere, with live music by two singers, 2 guitars, and violin by Daniel Jurado. The program states that this is a “work about the energy that drives artists to realize their dreams.” Driven Carmona is. He is an exceptionally intense artist with equal clarity of tone and line, despite the extraordinary speed he maintains.
EYE ON THE ARTS, NY -- Deirdre Towers




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