|Charlotte Landreau, Lorenzo Pagano, Lloyd Knight, Anne O'Donnell in Untitled (Souvenir). Photo: Brian Pollock|
And like Cunningham, Tanowitz’s work is more cerebral, and less emotional and expressionistic, than Graham’s. Tanowitz really pushes form, articulating the limbs tautly, and inventing witty traveling steps that are simple, yet new, such as hopping on one foot with the other leg at 90º, foot flexed. Port de bras defy convention, and like Merce, the torso often creates odd angles with the pelvis and legs. It is not what you’d deem organic movement, but highly thought-out and experimental, given the same old human body. For all of Tanowitz’s formality—underscored by Ryan Lobo/Ramon Martin’s elegant, black & white columnar jumpsuits and pieces—the work is couched in humor. Those at rest observe the others dancing, as if in rehearsal. They gather and form a handsome tableau in the finale.
|Deo. Photo: Brian Pollock|
|Laura Andrea Williams in Chronicle. Photo: Melissa Sherwood|