|Of Days. Evan Li|
Of Days, choreographed by Andrew Simmons (of New Zealand) last year, is undeniably full of beauty (other than the unfortunate choice of bare legs for the women, who wore Kate Venables' pale grey, draped-top leotards and pointe shoes). But just how far can mere beauty go? In the opening tableau, the four women stood stage right, gently waving a raised arm like a tree branch. After ten minutes of tendus, deliberate backward steps, and arabesques, one section blended into the next; various tracks of new-agey music, by three composers seemingly inspired by Arvo Pärt, formed an unending sonic miasma. The dancers moved ever so carefully—apparently emotionally fragile as well—but it translated to a sense of boredom and a certain metronomic predictability.
|Clytie Campbell in Banderillero. Photo: Bill Cooper|
28 Variations establishes technical chops, and connects RNZB to the inexorable global Millepied zeitgeist in ballet now. In contrast to the numbing beauty of Simmons' dance, Banderillero creates a vivid, hermetic world with its own charismatic language—a signature work that makes a memorable impression on New York balletomanes, or at least this one.