LIMON DANCE COMPANY

The legacy of choreographer José Limón is thriving, as evidenced at the 92Y with a premiere showing of a documentary film Through Memory, by filmmaker Tobin Del Cuore. Integrating Limón’s passionate choreography, philosophy, and history with that of the 92nd Street Y (celebrating its 150th anniversary), the film presented the ongoing mission of both to keep dance moving into the future while honoring the past dance lineage.  And then…a performance in the Kaufmann Theater, where the Limón Dance Company shared three iconic works before the premiere of contemporary choreographer Aszure Barton’s Join.

The evening opened with a solo work by Limón’s mentor, Doris Humphrey: Two Ecstatic Themes (1931), danced lusciously by Jessica Sgambelluri. She opens in a striking wide held stance in second position in Circular Descent,  before spiraling, falling, and recovering, all from her upper body at first, then circling through space, arching and lowering to the floor, rising, all seamless movement.

In Pointed Ascent, she strikes space more angularly, ending again in a held position, with hands clasped in triangular position above her head. This early dance exploration of Humphrey’s influenced much of Limón’s future work. Placed at the beginning of the evening, with Artistic Director, Dante Puleio’s clear and passionate introduction, it set the stage for the next piece.

La Malinche (1947) is known as Limón’s first company work. Three dancers reference Mexican history and tradition from his childhood. The story of the Spanish invasion by Cortés,a Spanish conquistador;  his mistress and collaborator, Malintzin, and her betrayal of the indigenous culture comes alive, danced by Deepa Liegel, Ian Debono, and Johnson Guo. 

The Moor’s Pavane (1949), Limón’s second company work, is a masterpiece of storytelling, drama, technique, and choreographic vision. In 19 minutes, Limón tells Shakespeare’s story of Othello, betrayed by his best friend and lieutenant. A story of jealousy, deceit, and self sabotage, all portrayed through elegant renaissance dance, theatrics, and Limón’s depth and command of technique. Eric Parra, Joey Columbus, Mariah Gravelin, and Savannah Spratt interpret this seventy-six year old gem most convincingly. 

Azsure Barton’s Join (World Premiere) completes the evening. A full ensemble dance begins by displaying the essence of the Limón technique: the breath. All in a line, 11 dancers, facing the audience,  exhale and inhale together in simple rises and falls, holding and then releasing hands, a simple opening prayer of unity, vulnerability, reverence. The group steps forward and back repeatedly, in unison; this motif repeated inventively throughout the dance in numerous configurations, always in unison, except for one or two who stand out but then join again. The group embraces, rocking back and forth, holding on to each other, conveying concern, always finding a way for rejoining. A highlight of the work is when composer Ambrose Akinmusire’s score turns to vocal “ scatting.” Johnson Guo and MJ Edwards frolic in quick witted runs, hops, and jumps; a delight to watch, while two groups circle the stage, eventually capturing these two, enfolding them into the community again. Savannah Spratt and Mariah Gravelin, hold, lift, rock in slow equal weight partnering, a counterpoint to the playful duet.

Savannah Spratt and Mariah Gravelin, hold, lift, rock in slow equal weight partnering, a counterpoint to the playful male duet.

In all, this sensitive, meditative work shows Barton’s reverence of the company’s history, and her ability to mine that source to express her wish for our common future: the community working together to build and support. It expresses the essence of the Limón philosophy and depth of feeling. Kudos to the company and to Artistic Director, Dante Puleio for continuing excellence of vision, execution, and expression.

EYE ON THE ARTS, NY — Mary Seidman