Dance
Here was another (all-too) typical example of ballet companies reinforcing a patriarchy that hardly reflects the number of women in their ranks.
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Two autobiographies by women who had some experience in legitimate theater, but they each gave their strongest allegiance to dance, specifically one choreographer.
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Via Ray Bolger’s trajectory we traverse the boards of Broadway and the silver screen of Hollywood — as well as the smaller, but equally thrilling, milieux of nightclubs and television studios.
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This mysterious dance may have no meaning at all beyond its cryptic theatricality and movement. Or it may mean a lot.
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Although hailing from different backgrounds, Tony Williams and Duggan Hill share important commonalities, most notably their engagement with urban youth.
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Monica Bill Barnes, a dancer-choreographer, mime, storyteller and soft satirist, has riffed in the past on the pitfalls of dancing, the vanity of performers, the absurdities of adolescence. Now she’s looking at gender displacements and assertions.
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William Forsythe asks dancers to go beyond their mastery of technique — in order to have the music move audiences to a higher level of emotional involvement.
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Mark Morris and Ethan Iverson chose songs from the famous album for reflection and extrapolation. What they made is an entertainment, a romp for the company’s terrific dancers.
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The question is whether this evening of dance was supposed to be engaging or enraging — or both.
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What few signs of the rich culture embedded in Danza Orgánica’s artistic director and choreographer Marsha Parrilla’s heritage made token appearances.
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