By Christian Viveros-Fauné
By Miriam Felton-Dansky
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By R. C. Baker
By Tom Sellar
The stat-crazy can slice the innovative 30-troupe roster a dozen different ways, but chief among Fall for Dance's delights is its one-size-fits-all, first-come-first-served price: $10 a ticket (as cheap as a Manhattan movie) to see five troupes nightly. For less than the cost of a good seat on Broadway, the savvy early bird can snag the best seats in the house for the whole festival. The box office opens Friday, September 10.
"The history of City Center is accessibility," said Arlene Shuler, a former Joffrey Ballet dancer who's the theater's new president and CEO. "We made the tickets $10 because one of the goals of this festival is finding new audiencesyoung people, students they're the next generation of dancegoers." Organizers also instituted a "festival lounge," open from 5 to 11 p.m. in the public atrium just west of the theater, where the crowd can find drinks and snacks, a place to relax, and a different DJ nightly.
Susan Marshall & Company
photo: G. Hanson
Black dance in all its stunning diversity is represented by troupes ranging from the above-mentioned DTH to Philadelphia's smokin' Rennie Harris Puremovement in Students of the Asphalt Jungle, the closing act on the September 30 bill. On October 1, Broadway star Desmond Richardson (recently added to the cast of Twyla Tharp's Movin' Out) offers a solo to music by Prince choreographed by his Complexions Dance Company co-director Dwight Rhoden; another Rhoden work, It All, will be performed October 3 by Carmen de Lavallade and Gus Solomons jr of Paradigm, to music by Björk. On the same bill Rochester's Garth Fagan Dance hits town with last season's DANCE- COLLAGEFORROMIE.
Reggie Wilson/Fist and Heel Performance Group shows the male quartet Big Brick October 1; and the Brooklyn-based Ronald K. Brown/Evidence performs Upside Down on October 2. Batoto Yetu, a troupe of youngsters directed by Júlio T. Leitão, offers an excerpt from the bewitching Nzinga, and postmodernist Bill T. Jones (who once might have eschewed identification as a black choreographer but now, having won every prize in sight, seems to have made his peace) brings his Bill T. Jones/Arnie Zane Dance Company to opening night in his revised version of Zane's 1977 Continuous Replay.
Parul Shah & Dancers
photo: Tobias Prasse
Younger choreographers include David Neumann, artistic director of his own Advanced Beginner Group, performing Dose, to music by Tom Waits, on opening night; and Sarah East Johnson, whose all-female troupe swings out in Double Trapeze on October 2. Quintessentially modern, the Martha Graham Dance Company opens the September 29 bill with Embattled Garden, an Adam-and-Eve story with scenery by Isamu Noguchi. The Paul Taylor Dance Company offers the post-cataclysmic Promethean Fire, to Bach, on October 1. Also in the modern camp are PearsonWidrig Dancetheater, whose knife-and-orange-juggling Ordinary Festivals is a perennial favorite, and Susan Marshall & Company, whose 10-minute Kiss literally lifts its performers off their feet. Tina Ramirez's Ballet Hispanico fuses modern, ballet, and Latin styles in Alexandre Magno's Dejame Soñar, on September 30. Annie-B Parson and Paul Lazar's Big Dance Theater offers City of Brides on the closing bill.
Asian styles are represented by Parul Shah & Dancers, who marry India's Kathak to modern sensibilities in Precious Cracked Earth on September 30; Yin Mei, a Chinese choreographer who now lives here, combining tai chi and chi gong with postmodernism in her City of Peonies on the October 2 program; and Eiko and Koma, who reprise their 1999 Snow, a slow-motion ode to the implacability of the universe, on October 1. Sidi Goma, a traditional Sufi troupe of East African origin whose ancestors settled in India's Gujarat in the 13th century, closes the festival with ecstatic dance in full costume.
Reggie Wilson/Fist and Heel Performance Group
photo: Antoine Tempe