FALL FOR DANCE FESTIVAL AT THE DELACORTE THEATER
September 14, 2014
Throngs crowded into the Delacorte theater to see an evening of free dance presented by City Center Fall For Dance and the Public Theater. Originally, Lil Buck, the jukin’ sensation was scheduled to dance but during dress rehearsal the night before, sustained a serious sprained ankle preventing him from performing. Interestingly, the decision was made not to announce his absence until just before the closing piece.
That’s when Damian Woetzel took the mike and explained the painful situation describing a frantic 48 hours of re-choreographing the dance--"Bend in The Road: New Orleans" -- that included Ballet X, NYC Ballet stars, Robert Fairchild and Tyler Peck along with Caroline Fermin and Ron “Prime Tyme” Miles who stood in the place of Buck stood. Miles' rubbery twists, electric boogie slides and pops added syncopated accents to a piece that backed by some of the best jazz musicians including Marcus Printup, Russell Hall, Joe Saylor, Ibanda Ruhumbika, Eddie Barbash, Jaon Batiste and Kate Davis.
Before the show started, Oscar Eustis and Arlene Schuler announced that the free dance performances would become an annual event. The first half of the program featured Hubbard dance from Chicago. Technically strong, the company threw themselves into the tribal piece Gnawa by Nacho Duato. It was particularly effective as an outdoor presentation because the scooping lunges and isolated torso contractions suggested a collection of rain forest dwellers.
Another audience favorite, Hermann Schmerman by the neo, post modern classical choreographer William Forsythe tosses two NYC Ballet dancers, Maria Kowrowski and Amar Ramasar into a series of off-center balances, quirky, street dance head flings, and twisty toe turns that square off the space into physical angles. Ramasar was particularly effective in the slinky, forward hip thrusts and nonchalant ballet attitude.
Bill T. Jones and Arnie Zane’s “D Man in the Waters (Part 1)” sent dancers filing out, and flipping back in a ribbon of lines. Very individualized performers, small and tall, slender and fuller bodies dug into the athletic steps that opened out, ready to catch falling bodies. Quick footwork, sharp holds and bodies dropping to the floor gave the abstract choreography an intense humanity.
Despite the disappointment of Lil Buck’s absence, the audience left satisfied.
EYE ON THE ARTS, NY -- Celia Ipiotis