Energy, Energy … and More Energy

(http://www.danzaballet.com/modules.php/files/files/modules.php?name=News&file=article&sid=3687)

When strikingly different types of stones come together to form a conglomerate rock, the result is often an impressive rainbow of color and texture. While some might learn to appreciate the overall beauty of such a rock, others might only favor certain parts of it. Fall for Dance, a show highlighting four diverse dance companies, created a similar effect on opening night, at the New York City Center. While some performances of this dance festival shined, the luster of those pieces seemed to overshadow the others.

The first performance was entitled “Xover,” performed by the Merce Cunningham Dance Company. The animal-like and sometimes robotic grace of the modern dancers took the crowd on a bizarre trip to the jungle and to what at times felt like outer space. While the dancers certainly had elegance and clearly had refined technique, the lack of music was more distracting than it was entertaining. The choreography was accompanied with a random series of noises, which was often the croaking voice of a woman. These moderately disturbing sounds did not provide a beat, making it difficult to connect the dancing with the background “music.” Moreover, the different choreography performed simultaneously weakened the dancers’ stage presence. Their disunity was ineffective, as it did not help an average spectator to make sense of the theme or point of the dance.

On the other hand, the following group, Gallim Dance, presented a more animated and jaunty performance. Their playfully energetic movement created a zesty atmosphere that could only be matched with the excitement of a child watching his first live circus act. The music jumped from jazzy to exotic, sometimes tasting tangy and even spicy. The dancers kept up with the liveliness of the music throughout the entire performance.  As they acrobatically bent, hopped, shook and glided through each segment of their dances, various stories seemed to unfold. Among them was a story of a man and woman, presumably a couple, who took turns chasing and catching each other. Though it was slightly sensual, their very theatrical movements kept it innocent and fun. Certainly, the audience members were captured by the rapture of this performance, for they gave Gallim Dance a well-deserved standing ovation.

Though this was a tough act to follow, Madhavi Mudgal very elegantly and successfully led the audience to the next performance, a traditional Indian dance. Five women took the spotlight, and began in perfect synchronization a very hand oriented choreography. The delicate and intricate motions of their hands provided a refreshingly sharp contrast from the previous dances. While the other performances seemed to highlight individuality, as seen in their choreography, this dance emphasized group unity. Together, they complimented the calming rhythms of the exotic music through the precision and symmetry of their formations and movements.

Meanwhile, the Miami City Ballet had quite a surprise in store. Though ballet is often thought of as slow and smooth, “The Golden Section” was quick and sprightly. The bright lights at the side of the stage accentuated the gold of the dancers’ fitted costumes, as well as their cheerleader-like energy. Their pirouettes, leaps and classic ballet moves were effortlessly performed at a heightened speed, giving the dance a crisp modern edge.

Although it was clear that Fall for Dance brought together a mix of dance styles, aesthetic appeal and quality also seemed to be a variable. While each group appeared to be well-rehearsed and was comprised of talented dancers, there was a certain level of excitement in Gallim Dance’s “I Can See Myself in Your Pupil” that the other performances could match. Perhaps the show would have left the audience in speechless awe if it instead had closed with this performance.