|Photo by Ted Kivitt|
|Kathleen Bollana and Olivier Greene-Cramer in (In)Visible Spectrum|
Purchase College Dance Conservatory at NYLA
By QUINN BATSON
The fresh faces of Purchase Dance Company gave good dance to six choreographers, at NYLA, in a solid show. One delight of large group shows like this is picking individuals out of the crowd and keeping track of them; another is not worrying about who is who and just enjoying the dancing.
Pretty, softsupple movement in gentle light and stringquartet Mozart open the show, in Bill T. Jones' Spent Days Out Yonder. A tall woman in the opening group kept being the one to watch, as easy comings and goings melted into one another and the overall feel of the piece became one continous flow, like watching a stream or river.
|PURCHASE COMPANY 2013|
|Choreography by: Bill T. Jones, Claire Porter, Andrea Miller, George Balanchine, Ori Flomin, Loni Landon.|
Dancers: spent days: Raven Blue, Hannah Button, Zach Enquist, Michelle Giordanelli, Charisma Glasper, Cody Hayman, Amanda Krische, Jillian Pajer, Tyler Schnese, Chisato Yanagisawa
out of the question: Diana Amalfitano, Michelle Bay, Melanie Benker, Nicole Del Bene, Andrea Farley-Shimota, Hannah Garner, Josephine Haas, Francesca Martoccio, Holly Mitchell, Alden Philips, Maiya Redding, Emily Tarrier, Sage Watson
(in)visible spectrum: Rebecca Allen, Zoe Allocco, Morgan Anderson, Kathleen Bollana, Kristen Brewer, Michael Clark, Gianna Digirolamo, Ariel Dorsey Breckyn Drescher, Michaela Ellingson, Madelyn Eltringham, Oliver Greene-Cramer, Megan Guinta, Christopher Hernandez, Forrst Hersey, Jillian Hobbs, Thijs Huizer, Seneca Lawrence, Roel Leenheers, Marcella Lewis, Bree Nasby, Logan Pedon, Logan Scharadin, Imani Simmons, Chloe Watson, Molly Weitz
thought of you: Danielle Alvarez, Joshua Dwyre, Shou Yi Goh, Tamisha Guy, Thomas House, Gwyneth Mackenzie, Ryan Yamauchi.
|New York Live Arts|
May 22-25, 2013
God bless Claire Porter, who keeps finding ways to make amazing dance theater pieces. Out of the Question fits well on thirteen Purchase students, whose uncertainty about the future and hunger for answers feed perfectly into Porter's exploration of questions what they are, how we ask them and, her specialty, what questions look like on the human body; in a fun moment, one dancer spins, and spins, and spins. And spins, on the edge of control and dizziness, stating "I am a question." Other dancers have fun with the hysterical excitement that questions can produce, jumping to exhaustion or otherwise flinging themselves around like nuts, to appreciative audience laughter. And, slyly inserted into all the laughs is serious analysis, with a little help from Gertrude Stein texts. Visually clean but diversely patterned black and white print dresses by Juliet Shore unify the dancers, too.
An excerpt from Andrea Miller's In Media Res gives a solo showcase to Matthew Perez, who does a good job with it, finding all the awkward and intense physicality the Gallim style demands. His capable foil/rag doll partner is Gwyneth Mackenzie, whose difficult job is to stay passive/robotic during awkward lifts and interactions.
|Photo by Ted Kivitt|| |
|L-R: Melanie Benker, Josephine Haas, Andrea Farley-Shimota in Out of the Question|| |
Before intermission, 6 Purchase students show that ballet is something they can do, too. Balanchine's Valse-Fantaisie gets a serious whirl, from the corps of Nicole Del Bene, Madelyn Eltringham, Lieneke Matte and Alden Phillips and the pas de duo of Ayaka Kamei and Tyler Schnese. The corps is clean and lively, Kamei extends movements beautifully and Schnese jumps crisp and smooth. It's worth noting that all is at breakneck speed; this valse is not gentle.
Ori Flomin's (in)Visible Spectrum begins and ends gently, though it doesn't stay gentle. Flomin does a good job keeping 25 dancers onstage and unclogged, mixing things well with high-velocity group dancing, parallel lines moving past each other, and individuals and duos dancing through and in the middle of slow groups or still rings of people. An original music/sound score by Pierre de Gaillande and Gary Greenblatt, and music by Biorhythms takes us through different parts of the spectrum. Spiking, slicing arms and legs in the fast-dancing sections share some DNA with the Stephen Petronio dancing Flomin performed for years, but soft wonder and gentle hope add new flavor. Strong duets and a section at the end, of individuals lofted into the air by groups, feel best.
The Thought of You is Fading fits as the title for the last piece. Loni Landon puts seven dancers in a tense, crouched world, giving them bursts of smooth movement to punctuate stretches of dark stillness with an undefined urgency. Her style demands the sort of dancer chops that the largely young dancer audience finds delicious.
|MAY 31, 2013|
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