Baroque Dance Experts Play Games with Tradition

Untie that corset!

Turocy releases period decorum a few more notches in Caprice, while the Concert Royal plays music composed by Nicola Matteis in 1700. The dancers, riffing off themes by Pécour and Feuillet that they know well, improvise within a structure set up by Turocy (a practice not unknown in 18th-century opera), they strut in place and parade while some burst into solos—Turocy teasing out her steps and snapping her fingers, Rainey making his breath suspend a move before falling happily into the next one, Careless letting her legs go crazy. Almost everyone has a moment in the sun.

As a program, “Points of Departure” is not without flaws, and who knows whether the Sun King himself, Louis XIV, would have smiled on it, but for us in this century the blend of respect and irreverence in some strange way brings us closer to the heart of the dancing he knew and practiced.

On October 17, members of NYBDC will appear in Opera Lafayette’s production of the 1745 opera Zelindor, Roi des Sylphes at Frederick P. Rose Hall.

Patricia Beaman’s Accumulating Venus
photo: Chris Woltmann
Patricia Beaman’s Accumulating Venus


New York Baroque Dance Company
Mark Morris Dance Center
3 Lafayette Avenue, Brooklyn
Friday and Saturday

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