DANCES BY CHARLES WEIDMAN: Sokolow Theatre/Dance Ensemble
Feb 2, 2025MARIA TALLCHIEF CENTENNIAL CELEBRATION
Feb 3, 2025Review by Celia Ipoiti
NYC in 1974 was a caldron of experimental forays into the arts. Dance iconoclasts defied expectations spilling out of downtown lofts into East Village clubs, up to the Bronx and back to the concert stage. Performances were events, and the counterculture dance scene was exploding.
These days, ballet and modern dance are no strangers, but in the 40’s, 50’s and 60’s, these two practices rarely crossed paths. Of course, whenGeorge Balanchine collaborated in 1959 with Martha Graham on Episodes, modern and ballet made history by sharing a stage.
Throughout his career, Balanchine experimented with the classical ballet idiom while observing all the dance and music forms around him. After hearing a score by the experimental French composer Pierre Henry, Balanchine designed a hard-edged, coolly modern, enigmatic piece: Variations Pour Une Porte et Un Soupir “the Sigh and the Door.”
In this revival of the very cool, abstract, noirish 1974 Variations Pour Une Porte et Un Soupir a femme fatale draped in a monumental black cloak stalks an orange mop headed, scurrying being. Miriam Miller, all limbs, sporting a classic black 1930’s bob haircut with long bangs, cranks her arms up and down in doll-like Tin Man fashion. Spare and terse, her commanding presence contrasts against Daniel Ulbricht’s impressive non stop tumbling, stomach slides and knee runs — he actually scurries on his knees halfway across the stage. Constantly pushing and punching into space, Miller seductively hovers over Ulbricht, her cloak finally enfolding her prey. “Sigh.”
At intermission, there was a joyful scrum of young people near the front of the stage. A closer look revealed Justin Peck, standing in the midst of giddy well wishers, chatting, hugging, laughing and patting each other on the back. This cheering posse was unbelievably excited about Peck’s upcoming premiere, Mystic Familiar, a ballet Divided into 5 sections to an electronic score by Dan Deacon. On this occasion, Deacon joined the orchestra on vocals and electronic instruments conducted by Andrew Litton.
Based on the elements — Air, Earth, Fire, Water and Ether — each of the five sections exuded its own aura. When the lights by Brandon Stirling Baker rise on the colorfully Russian Constructivist style geometric shapes and lines designed by Eamon Ore-Giron, Deacon’s watery music (which bares similarities to Philip Glasses “In The Upper Room” choreographed by Twyla Tharp) sets the ambiance. Influenced by Balanchine, Robbins, Ratmanksy and Tharp, Peck’s works frequently reference his mentors. On this occasion, the overriding nonchalant style, piqued by a deep balletic sensibility, pumping arms and legs nodded to Tharp’s stylistic signature soft knees, slightly off-kilter extensions, snappy turns and bold stances.
Entering in a procession clad in white, puffy tulle sleeves over pale blue unitards, the company suggests a quiet floating cloud. In contrast to “Air,” “Earth” centers on the rooted Taylor Stanley. Moving with a stateliness and precision throughout his extended solo, Stanely opens his arms embracing the space, twisting and swirling in a controlled hold on earth.
Bumping up the energy level, “Fire” spotlights Tiler Peck and Gilbert Bolden III in a sneaker duet that predominantly lives in a levitated state. Curling over his head, and out to the sides, one handed holds provide the leverage for the seemingly effortless lifts. Dressed in short-shorts and a red tank top, Bolden wears loose fitting amber colored pants and sleeveless top. Joined by Peter Walker and the company, they break into bouncy romps and group clumps. Here Peck demonstrates his talent at wrangling youthful dancers into communities of enthusiasm.
“Water” unites Naomi Corti and Emily Kikta in a slithering duet combining one person sliding onto the floor, shadowed by another from above. Incrementally inching down the stage, this smoothe pace spills into the full company dressed in white for “Ether”– the element most affiliated with ballet. A grand finale with soloists breaking through the center and a male line dance, reminds us that Peck was a performer who loved to dance with his peers.
The evening opened on Christopher Wheeldon’s painterly From You Within Me to a score by Arnold Shcoenberg against multiple scenic screens by Kyle Manning. Arranged for 12, the excellent, agile dancers infused the inventive choreography with novel movement flicks like the unexpected hip rotations and intriguing, ergonomically designed lifts.
Impressively filled with a number of young people, the audience certainly enjoyed Peck’s premiere, but they also appeared surprisingly intrigued by Variations Pour Une Porte et Un Soupir. Never underestimate your audience.
EYE ON THE ARTS, NY — Celia Ipiotis
