Dorrance Dance in ETM: Double Down

Demi Remick, Caleb Teicher and Warren Craft. Photo: Jamie Kraus

Forgive me, tap purists, but I often find tap dance performances like homework. Sure, I can appreciate the intricate rhythms made by the feet, but the shows can veer from outright show-biz to introverted, or to contained throw-downs between two dancers onstage. So along comes Michelle Dorrance and her skilled troupe of hoofers, with collaborator Nicholas Van Young, whose ETM—electronic tap music—helps craft a fully integrated, entertaining program of varied dynamics and segments, called ETM: Double Down, at the Joyce through this weekend.

Michelle Dorrance. Photo: Christopher Duggan

ETM refers to a set of primitive looking foot-square platforms connected by cables—like a giant octopus that morphs around the stage, its tentacles shifting so as to hang onto its prey. The dancers pick up the devices and move them, and then trigger their programmed sounds with their toes, as if hitting a piano key. (The motion reminds me of Tom Hanks in Big!, when he goes bonkers on the giant piano keyboard.) The emitted sounds evoke the xylophone, bells, chimes, piano, and are supplemented by an onstage band on drums, standing and electric bass, keyboard, and in the second half, soulful vocals by Aaron Marcellus.

Each segment varies in dynamics, so there are plenty of quiet moments mixed in with the more physical tap numbers. Dorrance's diverse and multi-skilled company includes Nicholas Van Young, Byron Tittle, Caleb Teicher, Leonardo Sandoval, Warren Craft, Elizabeth Burke, and Ephrat Asherlie (who performs b-moves in sneakers). They frequently work together incredibly intricately—at moments, each dancer plays one note in a musical phrase. A number featured larger platforms with metal grids on one side, against which the dancers scraped their shoe plates for a unique sound. Dropped link chains added a cascading thudding sound.

Dorrance's stage invention emerges in the way she situates or works a group of dancers around a soloist—in a traveling semicircle, with the chorus' backs to the featured dancer, or upstage on varied-level platforms, mingling with the band members. Her personal tap style is focused, her body somewhat contracted, with exaggerated knee lifts to precisely place each tap. Each of her company members has her/his own flair, but they work seamlessly as a team to realize some fascinating ideas that expand the art of tap.   

Anything but Empty Moves

Photo: Jean-Claude Carbonne

If you stripped away the soundtrack for Angelin Preljocaj's Empty Moves Parts I, II & III—John Cage's Empty Words—it would still be constitute an immensely gratifying experience. The movement that the French choreographer created for this 1:45 work is jammed full of modern dance invention and exploration into the possibilities of the human body times four. It was performed at the Joyce by Nuriya Magimova, Baptiste Coissieu, Yurié Tsugawa, and Fabrizio Clemente (the latter two performed parts I & II at BAM in 2010), to a recording of Cage's 1977 Milan performance, at which the audience members at his 1977 reading essentially staged a revolt while Cage serenely reads his deconstruction of Thoreau's text. They shouted, clapped, stamped, and howled in protest.

Preljocaj's choreography is only nominally linked to the Cage score, most notably in part III when some of the dancers' rhythms mirror the riotous clapping. For most of the work, there's great tension between the movement onstage and the mental action summoned by the aural anarchy. The impact of the sound is so mentally powerful, however, that many Joyce viewers were compelled to walk out, despite the rewarding dance taking place. Or perhaps they were expecting to see ballet.

Photo: Jean-Claude Carbonne

That said, the choreographer often works in the classical ballet lexicon, and many of the works seen in New York, particularly at BAM, tend to have elaborate sets and are composed of many sections which vary in narrative and dynamic. Empty Moves departs from what I have seen of Preljocaj's work, to the extent that it seems that quite another person created it. It feels rooted in the structure and approach of Merce Cunningham, with whom Preljocaj studied, further underscored by the use of a score by Cage, Cunningham's life partner. 

The several measures of movement that form the opening section act as a kind of reset button between parts, augmented from the second repeat on with a bottle of much deserved water passed among the dancers. But for the most part, the movement does not repeat, nor is it of a common canon. It is made on specific bodies so closely interlinked and dependent that after a time they seem to move as one large organism. Experiments with cause and effect, gravity, and geometry are endlessly explored. An occasional emotional reaction or humorous gesture warms the proceedings, which can come across as nearly scientific in their procedural pace and exhaustive depth.

Paul Taylor's American Modern Dance — A Platform Tilts

Michael Trusnovec and Parisa Khobdeh in Polaris. Photo: Paul B. Goode

What Paul Taylor's American Modern Dance is attempting to do—recognize gems of modern dance and commissioning new work, while staging a regular season of Taylor's dances—is still in its infancy, but this season, some strong threads emerged, at times interweaving the performed works. A nod to Martha Graham came with the Taylor dancers performing her Diversion of Angels, and essential modern vocabulary evoking her style (for which Taylor was a paradigm) popped up in rep. And the new external commissions nodded at Taylor's influence, particularly by the classic Esplanade, which was performed as well. 

It bears repeating—PTAMD's annual three-week New York season remains one of the perennial protean feats of dance. The dancers are heroic—obviously in a physical sense, performing 20 dances—but mentally, keeping all that repertory fresh and at the ready. In the city, even the country or world, perhaps only New York City Ballet and ABT can compare, breadth-wise. But those are much larger troupes, dozens and dozens of dancers, rather than a spare 16. The Orchestra of St. Lukes provided vibrant live music for much of the repertory, under the direction of Donald York, a longtime company collaborator. 

PTAMD's 2016 three-week Koch Theater season added for the company the twists of two external choreographer premieres, plus two Taylor premieres and the performance of a Graham dance. (Dayton Contemporary Dance Company also performed Donald McKayle's Rainbow 'Round My Shoulder from 1959.) Because the Elkins used vocabulary new to the company, there was most likely not enough time for the dancers to become fluent in the quirky style, which derives directly from his body. Keigwin's Rush Hour was ultimately in a more polished state, simply because Larry's style is more forgiving. This also has been demonstrated, with great success, in his dances for crowds, including non-dancers. As for the Elkins, my hope is that if—when—The Weight of Smoke is performed again by PTAMD, then Doug will spend time with the dancers in workshops and rehearsals to immerse them in his brand of movement.

Spindrift, featuring Michael Trusnovec (with a cast from a previous season, including
Michelle Fleet, Annmaria Mazzini and Rob Kleinendorst). Photo: Paul B. Goode  

Casts for Esplanade (1975) rotated within a season for the first time in memory, keeping it fresh and giving repeat viewers some added interest. George Smallwood hops with smart snap; Rob Kleinendorst takes over the spot that Michael Trusnovec has been dancing for several years, which includes a duet with the ever silky Eran Bugge in which she walks on his stomach and legs. In this season, as noted, it takes on great prominence as a source work for the external commissions, as both Keigwin and Elkins have acknowledged its influence, which can be traced through their respective premieres.

Original costumes for Mercuric Tidings (1982) have returned—hot pink and white ombre instead of royal blue, giving the devilishly difficult dance a warmer and lighter feel. They don't change the crisp pace or crystalline structure, punctuated by artful tableaux. Polaris (1976) remains one of Taylor's most conceptually intriguing dances, with its movement repeated with different music and lighting (music by York, reconceived this year; designs by Alex Katz). Is the movement in part two actually more aggressive, or is it the music and the moodier lighting making it feel so? Questions of memory and perception abound, and the way in which dancers replace one another one-by-one feels like a parable of the slowly-phasing makeup of the company.

Spindrift (1993) parallels Beloved Renegade (2008) in that Trusnovec stars as an outsider—in this case, a stranger who perhaps washed ashore, speaking a different movement language than the natives. He crawls like a footless tadpole, wending between all of the dancers' legs. For this piece, Taylor struck a particularly inventive, quirky vein; for Trusnovec, repeated crossing of limbs and pivots on the knee, for the chorus, funny frog-like jumps and leaps. The movement generally evokes the animal world, replete with its naivete and sweet curiosity. In another precursor to Renegade, Laura Halzack breezes on and off periodically, a kind of spirit keeping watch over the interloper, who is eventually welcomed into the fold.

Madelyn Ho and Michael Apuzzo in Sullivaniana. Photo: Paul B. Goode

In a solo, Trusnovec does a slow pirouette and unfolds a leg with his torso tipped back, arms in a vee. It is reminiscent of Aureole, and of Martha Graham, whose Diversion of Angels the Taylor company performed this season. The Graham is a natural fit, and these dancers feel more relaxed than the Graham company, which seems to value tension as a tool. It's also the first instance of the Taylor company dancing a classic work not by Taylor, alongside the season's two premieres by working external choreographers. But many of Taylor's dancers could step right into the Graham Company and be fine. Khobdeh, in particular, is radiant in a red gown and long hair, but it's her dynamism and gutsy tilts that are so affecting. 

Taylor's second season premiere is Sullivaniana, a nostalgic theatrical piece set inside a lit proscenium (designs by Loquasto), indicating a show-within-a-show. The women wear brightly colored flouncy dresses and character shoes, the men gaudy three-piece plaid suits and bowlers. The first part features missed meetings and lonely singles; new company member Madelyn Ho looks beyond the stage for company. (This polished, petite dancer adds another twist to potential lift choreography; she is light enough for the company's strongman, Kleinendorst, to do a one-handed press with her.) Eventually dancers pair off, which quickly leads to an impromptu (if still decorous) orgy mid-stage, before things wind down as they began, with Ho alone. It speaks to a recurring theme in Taylor's repertory, of the restless beast lurking beneath social niceties. The music, by Arthur Sullivan (of Gilbert and), comprises largely bright orchestral arrangements including some familiar, and less so, sections.

Rush Hour. Photo: Paul B. Goode

The second external commission is by Larry Keigwin, who is adept at moving large groups of people in organized, intricate ways. Rush Hour is no exception, in which all 16 dancers cross the stage with urgency, intersecting paths, spinning, and interacting with others. Running is a staple, echoing Esplanade. But the overall feel is urban modern, with gray and black leotards by Fritz Masten, and chiaroscuro, misty lighting by Clifton Taylor, to a filmic score by Adam Crystal. Unlike Elkins' quirky melange of steps, Keigwin's vocabulary is more straight forward, and looks more at ease on the Taylor dancers, who are sleek and cool in a way we've not seen before. Both of these dances also evoke a look and feel that Taylor would most likely not create, and in that sense, they work to complement the repertory. 

Profiles (1979) returned. It is unique—a quartet (Trusnovec, Halzack, Michael Novak, Bugge) that is shorter in length than most of the rep, and is thus paired in an act with a polar opposite, the vaudevillean Snow White (1985). Profile's two pairs appear heroic in the choreographer's "flat" style that resembles figures on a Greek urn. The movement is slow, deliberate, and muscular, with inhuman assisted springs by the woman to the man's shoulder and chest. Hands form fists until the final moment, when Halzack uncurls her fist and places her flat hand on Trusnovec's proferred palm. It's a heart-stopping gesture to close a quiet, powerful dance.

Trusnovec, always magnificent and stronger than ever, returned as the lead in Promethean Fire (2002), with Parisa Khobdeh. While some of the elegiac depth with which it was imbued at its premiere, shortly after 9/11, has faded with distance (as has, it should be said, our raw sensitivity to the massacre), it remains a profoundly moving work that contains a few gestural passages that remind us of its timestamp. In one, Kleinendorst hoists Bugge overhead, paralleling ascension, and in another, salvation, when Trusnovec rescues Khobdeh from a heap of bodies. This gesture takes on the specifics of a relationship, besides making a general statement of survival and rebirth. Another factor of the dance's power is the music, by JS Bach. It's seriousness and pomposity have made it fodder for satire. But paired with the velvet-clad, interweaving bodies of the dancers, and magnificent crescendos and quiet moments, it finds its match in gravitas and elegy.

Orbs. Photo: Paul B. Goode

The repertory included Orbs (1966), an oddity in form (a two-act dance) to music by Beethoven, whose first-act costumes (Alex Katz) resemble Star Trek uniforms plus suave pleated, butter-hued gowns for the women, and in act two, prim wedding garb. The dance wends its way through planetary seasons and earthly rituals, including a marriage, overseen by Sean Mahoney representing a double-faced Sun and a priest. Katz's elegant gold arc shifts positions throughout. As with so many of Taylor's dances, this feels hermetic—delineating a world of its own, with a community coming together and breaking apart.

All the major and minor shifts mean dimensional growth for the repertory and for the dancers. They handled these challenges with aplomb; one wonders how much more they could manage. Perhaps future seasons will furnish even more tests as the platform of PTAMD continues to define, and redefine, modern dance.