offoffoff dance



Site links
  • Contact us

    Get our newsletter:
    Search the site:

    Dance section
  • Dance main page
  • Dance archive

    Current dance

  • 277DanceProject: This is Heaven to Me
  • A.W.A.R.D. Stars
  • Aaron McGloin: Lamina
  • Aaron McGloin: Native
  • Akiko Furukawa: Room 702
  • Alley of the Dolls [this is not a Sequel]
  • Anchors and Ties
  • Antonio Ramos: Almodovar Dystopia
  • Aretha Aoki and Benjamin Kimitch
  • BAADass Women Festival
  • Banana Peel Dance: Dinner Party
  • The Barnard Project 2010
  • Batsheva: Hora
  • Belinda McGuire
  • Bennyroyce Royon: Chronos Project
  • Bloom: City
  • Body Collider: Bare Knuckle High Fashion
  • Brian Brooks
  • Brian Brooks Moving Company 2012
  • Bryn Cohn: Skin
  • Burr Johnson
  • Chavasse Dance and Performance
  • Chris Schlichting: Stripetease
  • ChristinaNoel and the Creature
  • Chunky Move: Faker
  • Chunky Move: Mortal Engine
  • Cool NY 2011
  • Cool NY 2012
  • Current Sessions: 03Savings
  • The Current Sessions: Volume 1
  • Da-on Dance: Thirst
  • Dance Apocalypse: Solos
  • Dance Gallery 2013
  • Dance Gallery 2015
  • Dance Gallery Festival
  • Dance Gallery Festival 2012
  • Dance Now 2015
  • Dance Sampler 2
  • DanceNow 2011
  • DanceNow 2011 Two
  • Dancenow 2012
  • DanceNow 2013
  • DanceNow 2014
  • DanceNow 2016
  • DanceNow 2017
  • DanceNow 2018
  • Daniel Gwirtzman: The Oracle
  • DaOn Dance: Root
  • David Appel and Daniela Hoff: Take Root
  • The Dinner Party: A Whodunnit Cabaret
  • Donnell Oakley: Sure
  • DorothyAnnieMaria
  • Doug Varone and Dancers 2017
  • Dumbo Dance 2010
  • Dumbo Dance 2011
  • Dumbo Dance Festival 2012
  • Faye Driscoll: Thank You for Coming
  • Faye Driscoll: There is so much mad in me
  • Faye Driscoll: You r Me
  • Festival Twenty Ten
  • Festival Twenty Ten Too
  • FLICfest 2012
  • FLICfest 2013
  • Fresh Tracks 2010
  • Fresh Tracks 2011
  • Gallim: Sit, Kneel, Stand
  • Gerald Casel: Fluster and Plot
  • Gotham Dance Sampler 1
  • Green Space:
    Take Root

  • Gwen Gussman: Nourishment
  • HATCHed WAX: two to view
  • Heather Olson: Shy Showoff
  • Hilary Easton: The Constructors
  • Hurricane Party
  • Hyperbolic!
  • Jeanine Durning: To Being
  • Jenni Hong:
  • Jody Oberfelder: The Soldier's Tale
  • John Jasperse: Canyon
  • Jonah Bokaer: Rules of the Game
  • Jonathan Pratt
  • Julian Barnett: Sound Memory
  • Julie Bour: Why Now?
  • Katie Workum: Black Lakes
  • Katie Workum: Fruitlands
  • Katie Workum: Herkimer Diamonds
  • Katy Orthwein and Aaron McGloin
  • Keigwin and Wolcott: Places Please
  • Keigwin+Company 2012
  • kerPlunk and Friends
  • Kidd Pivot: Dark Matters
  • Kota Yamazaki: Rays of Space
  • Kyle Abraham: Heartbreaks and Homies
  • Larry Keigwin: Exit
  • Lincoln Center Kenan Fellows
  • lmno3:BANGS
  • Lucy Guerin: Structure and Sadness
  • Lucy Guerin: Untrained
  • Magda and Chelsea: The Vulgar Early Works
  • Mari Meade and Companies
  • Mari Meade and Gierre Godley
  • Mari Meade and Teresa Fellion
  • Mari Meade: Not My Home
  • Mark Dendy: Labyrinth
  • Mark Dendy: NYny Astor Place
  • martha clarke: angel reapers
  • Martha Graham Company 2016
  • The Median Movement: JACK Rally
  • The Median Movement: X
  • Mei Yamanaka Works: Sunflower
  • Merce Cunningham
  • Miguel Gutierrez: And lose the name of action
  • Mina Nishimura
  • MokdessiWagner and Kawamura
  • Nathan Trice: Recognizing Women Project
  • Neta Dance: 2280 Pints!
  • newsteps 2013
  • newsteps 2014
  • Newsteps 2017
  • Newsteps 2018
  • Nicole Wolcott: 100 Beginnings
  • Nicole Wolcott: Paper Pieces
  • NLD: The Whiz
  • Only Human: Christine Bonansea
  • Ori Flomin: First Move
  • Oui Danse: French Amour
  • Patricia Noworol Dance: Circuits
  • Perforations Festival
  • Performance Mix 2013
  • Performance Mix 2017
  • Performance Mix Festival 2010
  • Performance Mix Festival 2018
  • Petronio 2012
  • Petronio: Underland
  • Pina Bausch: Vollmond
  • ponydance: Anybody Waitin?
  • The Principles of Uncertainty
  • Project RUIN
  • Purchase Company 2013
  • Ralph Lemon: How Can You Stay in the House All Day and Not Go Anywhere?
  • Raw Directions 2012
  • Raw Directions 2013
  • Relative Soul: Two Takes
  • Richard Move: Martha 1963
  • RoseAnne Spradlin: beginning of something
  • Sam Kim: Sister to a Fiend
  • Sarah Skaggs Dance: The New Ecstatic
  • Sarah Skaggs: Roving 911 Memorial
  • Shannon Gillen & Guests: Clap for the Wolfman
  • Shannon Gillen: A Colored Image of the Sun
  • Shen Wei Dance Arts
  • small apple co.
  • Splice: Japan
  • Stephen Petronio 2014
  • Stephen Petronio 2015
  • Stephen Petronio 2016
  • Stephen Petronio: LLD 430
  • Strange Love: Episode 5
  • Take Dance
  • Take Root: Mei Yamanaka and Angel Chinn
  • Tere OConnor: Bleed
  • TheCraft
  • This One Goes Out To You
  • Tiffany Mills Company
  • Tiffany Mills: After the Feast
  • Tiffany Mills: The Blue Room
  • Triskelion Collaborations
  • Two at Abrons
  • Two at Dixon Place
  • Tykulsker Cora
  • tykulskerdean
  • Valerie Green/Dance Entropy
  • Valerie Green: Impermanent Landscape
  • Walter Dundervill: Candy Mountain
  • Wave Rising 2011
  • William Forsythe at BAM
  • William Forsythe: Decreation
  • Women in Motion 2012
  • Wrought Iron Fog
  • Yoshiko Chuma and Rebecca Lazier
  • Zvidance: Dabke+Coupling
  • ZviDance: Zoom


    Complete archive, 1999-present

    2017-2018 reviews:


    Charge, Bianca Johnson, Eden Mazer, Keith Sabado, Alexandra Berger, Paulina Danilczyk and Elisa Osborne, left to right. in Dusan Tynek Dance Theater
    Photo by photo: Julie Lemberger
    "Charge", Bianca Johnson, Eden Mazer, Keith Sabado, Alexandra Berger, Paulina Danilczyk and Elisa Osborne, left to right.

    Good flight, cloying Magi

    Dusan Tynek Dance Theater's Debut concert shows strength, but grows too sweet around the edges.


    The Dusan Tynek Dance Theater (DT-squared) made good use of the Kitchen to make their Debut. Tynek showed a strong piece, a good piece and a dumb piece in his first evening-length concert, and he made good costume, lighting design and musical choices with a well-cast group of strong dancers. Tynek's strengths as a choreographer are excellent close partnerings and an appealing human sweetness, but the sweetness occasionally goes too far.

    Choreography by: Dusan Tynek.
    Dancers: Alexandra Berger, Richard Daniels, Paulina Danilczyk, Francisco Graciano, Jennifer Howard, Bianca Johnson, Eden Mazer, Elisa Osborne, Keith Sabado, Dusan Tynek.
    Music by: Eric Satie, Anibal Troilo, Philip Glass.
    Costumes by: Micheline Brown, A. Christina Giannini.
    Lighting design: Roderick Murray
    The Kitchen
    512 West 19th St. (btw. 10th and 11th Ave.)
    Dec. 3-6, 2003

    The evening began with the impressive "Pilot's Dream," a work in seven joined parts. Veteran Mark Morris dancer Keith Sabado, as the pilot, showed he retains good physicality and subtlety in his opening solo, begun in spotlit slow-motion silhouette. A motif of springing leaps ending in push-up position flavored both Sabado's solo and the subsequent solo by Tynek, with Tynek's becoming quicker and smoother. Windmill arms and contracting collapses, sometimes quick and startled, also set the style, with softly wiggling hips previewing later, softer movements.

    Tynek then slowly, tentatively woke the sleeping Sabado to begin the first of several good duets in the piece. These duets were physical but subtle, with partners leaping onto the sides or backs of the other and falling into or onto each other smoothly. After dreamy music by Satie in the first two parts, string music by Anibal Troilo gave this first duet a taste of folk dance theater.

    Pilot's Dream, Keith Sabado and Dusan Tynek, left to right. in Dusan Tynek Dance Theater  
    Photo by photo: Julie Lemberger  
    "Pilot's Dream", Keith Sabado and Dusan Tynek, left to right.
    For the fourth section, Tynek entered slowly, carrying the exquisite feminine creature Jennifer Howard, who dances as well as she looks. Their ensuing duet showed all of Tynek's choreographic strengths, and Spanish guitar and a beautifully odd one-legged, midriff-baring costume by Micheline Brown for Howard completed the overall excellence of this section. One memorable bit had Howard, eyes blinking rapidly, softly extending to and then retracting her fingers from Tynek's tentatively offered hand, the two not quite able at this point to let themselves connect.

    The guitar got louder and brighter for the fifth section, which added Eden Mazer to the other three dancers, for soft, swinging movement with much running, flowing sauté turns and, also, dancers unceremoniously dropped on the floor to break the flow here and there.

    A third strong duet followed with the elfish Tynek partnering his huge-eyed, fluffy-haired Winona Ryderish female counterpart, Mazer, dressed beautifully again by Brown in a subtly striped sleeveless burgundy jacket-dress with long burgundy gloves. Here again there was great close work and some interesting paired spinning.

    The final section of "Pilot's Dream" introduced flying, with Sabado flown around stage by the other three, in leisurely and inventive variations. Also following through from their earlier tentativeness, Tynek and Howard finally connect in a sweet bit begun with head-to-head contact, another recurring characteristic of Tynek's choreography. Sabado finished the piece as he began it, soloing slowly in a spotlight as the others receded offstage.

      One memorable bit had Howard, eyes blinking rapidly, softly extending to and then retracting her fingers from Tynek's tentatively offered hand, the two not quite able at this point to let themselves connect.
    After intermission, "Charge" swirled right into classic Philip Glass music from 1987, in beautifully watery costumes by A. Christina Giannini and moody, intriguing lighting by Roderick Murray. There were no big surprises here, but the choreography worked well with the music and the piece was danced smoothly and cleanly by Alexandra Berger, Paulina Danilczyk, Francisco Graciano, Bianca Johnson, Mazer, Elisa Osborne and Sabado. The movement was full of fast chainé turns and repetitive, sweeping forward and back running and fast walking, with a recurring motion initiated by Mazer of rising slowly straight up on toe, then slowly falling sideways to run off, later done simultaneously by the whole group, with much sliding to the floor. Married as it was to the endlessly cycling music of Glass, the choreography came very close to excessive repetition but succeeded overall.

    Too bad the same wasn't true for the last piece, "Wardrobe Spectre," a possibly cute five-minute concept extended into a much longer spectre. The initial idea of a wardrobe person being seen as almost one of the Magi bearing exotic and treasured objects of clothing to near-naked dancers seated silently waiting with their backs to the audience was humorous, and the opening of the piece was beautiful, but by taking the concept to absurd lengths and ending up with dancers wearing five layers of clothing in a sort of vaudeville schtick, the piece got pretty cloying pretty quickly.

    Overall "Debut" was a good first showing by a young choreographer, presented well and generously.

    DECEMBER 15, 2003

    Reader comments on Dusan Tynek Dance Theater:

  • Great and exquisite   from maria pehling, May 24, 2008
  • I forgot   from Maria Sabado Pehling, May 24, 2008

  • Post a comment on "Dusan Tynek Dance Theater"