|Jason Collins and Victor Lozano in Sequenzas in Quadrilles by Pam Tanowitz. Photo by Yi-Chun Wu.|
Tanowitz has been innovating for years, delving into every aspect of dance theater: parsing the forms of ballet (including on point) and Cunningham modern, site-specific work, the interplay between movement and design, and formal spatial exploration. All of these come into play in Sequenzas in Quadrilles at the Joyce, for which musicians (including a harp) of The Knights play selections by Berio and John King live, scattered in various spots on the mezzanine. Davison Scandrett designed the lighting and Suzanne Bocanegra designed the set (including, presumably, a set of small cards with vintage looking landscapes with the dance's geometric lighting scheme depicted, distributed to each audience member).
The movement flowed on and off the platform from the wings. From my seat onstage, I could see the backstage area and the dancers prepping to enter, or managing not to crash into things as they exited. Tanowitz's work draws strong comparisons to that by Merce Cunningham (MCDC alum Dylan Crossman danced in Sequenzas); she was mentored by Viola Farber, mainstay of Cunningham's company for years. Generally speaking, the style is based on turned out positions of fifth and fourth; the limbs move about these open forms to create geometric volumes; the torso tilts and twists on top of a stable base.
|Victor Lozano, Lindsey Jones, Sarah Haarmann, Jason Collins and Dylan Crossman in Sequenzas in |
Quadrille by Pam Tanowitz. Photo by Yi-Chun Wu.
Tere O'Connor's Undersweet, a duet for Michael Ingle and Silas Riener, seemed to go with the series' quadrille theme, implying a form of social dance which, in itself, consists of given forms and expected behavior. The use of Lully's Atys fomented this external gloss, beneath which course primal urges and emotions. The pair began by hewing to pathways on the square stage's periphery, or diagonals, prancing, keeping good posture, heads held high. Yet O'Connor's spare costumes—brown tights for Riener, navy t-shirt and shorts for Ingle— lent a casualness. As the dance evolved, their interactions became more personal and intimate; at one point, they kiss suddenly. Lully's music is mixed with other sounds (also by O'Connor), paralleling the surficial and underlying dynamics. Riener, a Cunningham alum and kind of rock star in modern dance, is never less than riveting to watch.
Riener also danced in Transcendental Daughter with Eleanor Hullihan (another rock star) and Natalie Green, with music by James Baker. This work showcased O'Connor's broadly inventive movement language which encompasses quirky, banal gestures with balletic grandeur. He attracts superb dancers time and again, itself a testament to the seriousness and rigor of his technique. The in-the-round stage set up is not foreign to O'Connor, who has performed at Danspace Project previously (as has Tanowitz), with its option to transform to any configuration. But at the Joyce, such a stage design feels more like a boxing ring, with its slightly raised height and strictly defined edges. Both dances have a seamless fluidity, and the dancers skillfully projected outward, rather than simply to one side. It's invigorating to see the Joyce experimenting with what would seem to be an intractable traditional proscenium design. It was also fun to sit onstage for once.