Tiger Balm

Three Takes on Taming Wildness

Each piece segues into the next, guided by Robert Wierzel's lighting and the mostly live music. One group work, I'm Dying to Lift You, doesn't quite come off, although I enjoy keyboard player Kathleen Supové, performing Randall Woolf's score in shorts; the antics of James Martin, the only man in the cast of eight; and Bella Malinka (who taught ballet to a zillion kids at the High School of Performing Arts from 1949 to 1981) playing a small but queenly diva. The piece rambles. A lot of shapely butts get wiggled at the audience.

Back to Bacharach: Seet (Left) and Estacio in Elkins’s The Look Of Love
photo: Cary Conover
Back to Bacharach: Seet (Left) and Estacio in Elkins’s The Look Of Love

In her 1999 One Apart, Latsky manages a very large group (25) with far more clarity. To music by Mozart and Andrew Poppy she combines hearty dancing with gestural passages—people lying on their backs, for instance, and "conversing" with their upraised feet, or sticking out their tongues and holding their faces as if inner demons were erupting. I'm impressed by the way Latsky makes our eyes work—setting Janet Lilly dancing in the center of the St. Mark's sanctuary while little, quick duets hold down the corners. She makes this potentially unwieldy crew seem like a society of individuals with a zest for organized festivity.

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