FALL FOR DANCE PROGRAM #3 & #4
October 10, 2015
Dancers from several continents commanded the stage at this year’s Fall For Dance Festival. The Brazilian-based Companhia Urbana de Dance twisted legs in air splits and helicopter spins suspending the body parallel to the floor. Typical of the traditional Capoeira martial arts vocabulary, after a bit, the athletics in “Eu Dance-8 solos de geral” wore thin.
Two beautiful dancers joined bodies in a duet that magnified intimate movements passed from choreographer Fang-Yi Sheu and ABT principal Herman Cornejo. Primarily stationary, the lighting enhanced the sculptural cut of the backs, and pliant arms in “Pheromones.”
A well-trained and diligent company, the Houston Ballet performed Stanton Welch’s “Maninyas.” Dancers appeared and disappeared from under long, billowing silk panels. The five couples enthusiastically executed an abstract expressionist style that emoted deep, unclear feelings as dancers sank to the ground, and bounded back up into awaiting arms.
Finesse and drama surrounded Surupa Sen’s “Shivashtakam (An Ode to Shiva)” by the Odissi dance ensemble Nrityagram. Polished without losing individuality, Ms. Sen and Bijayini Satpathy passed movements from one body to the other. Supple arms and faces graced the wide stance deep-knee bends and breathless balances.
Known for his clear choreography, the Dutch choreographer Hans van Manen’s “Solo” sent San Francisco Ballet dancers Gennadi Nedvigin, Joseph Walsh and Hansuke Yamamoto into an outbreak of rippling feet crossing quickly into speedy turns and folk dance flair.
Finally, Michelle Dorrance, the lanky tap dancer recently named a MacArthur Fellow took the stage in a rhythmic extravaganza. Joined by live musicians stretched across the back of the stage, Dorrancea and her vivacious dance colleagues pumped the thrill of dynamic, finely tuned, non holds-barred dance into the audience. Dorrance knows how to construct a dance that features choreographic logic and individual drama.
EYE ON THE ARTS, NY -- Celia Ipiotis