By Alexis Soloski
By R. C. Baker
By Alexis Soloski
By Tom Sellar
By Araceli Cruz
By Brienne Walsh
By Alexis Soloski
By Alexis Soloski
Jennifer Muller was choreographing well before she founded her company in 1974. And what a dancer she was! I still remember the opening of her 1973 Tub. She lay, her head thrown back, in a translucent, claw-foot tub; Richard Nelsons lighting enhanced the painterly image, and when she dipped her long hair in the water and whipped it in an arc, every drop sparkled. I dont think Id seen anyone dance in a wet dress before. Burt Alcantaras score incorporated ocean waves for her as she crawled on what might suddenly have become a beach.
In the revival of Tub for the 35th anniversary of Jennifer Muller/The Works, Jeff Croiters lighting is based on Nelsons, Mariana Cardenas has replaced Muller in the bath, and its Rosie Lani Fiedelman and Susanna Bozzetti who join her for some voluptuous liquid dancing and water games. Tall Duane Gosa plays the solitary swimmer who enters to stalk the perimeter of the stage, his very long legs made even longer by the swim fins he wears. Two additional men (Gen Hashimoto and Pascal Rekoert) join the women, and Rekoert ends up in the tub with Fiedelman.
Tubrevealed Mullers talent for creating lush, sexy movement (at that time, inspired by her years as a dancer in José Limóns company) and for intriguing ideas. Those talents, plus her generous spirit and the beautiful dancers she has always attracted, have made The Works (and her choreography for other groups) well known both in the U.S. and abroad. The companys workshops and other teaching stints have reached numerous young people.
The piece also reveals an ongoing liability in Mullers work. She tends to make long, drawn-out dances. Its as if, in the half-hour Tub, she wanted to explore every aspect of water that struck her: It cleanses, it soothes, its used in rituals, and it can engender mopping-up and spirited games with towels. In service of that omnibus idea, she elected not to follow through on the startling beauty of the opening image.
Bench, which received its world premiere at the Joyce this season, is also long, and this time the subject is even more multifaceted and complicated. Inspired by Al Gores An Inconvenient Truth, Benchis the fourth piece Muller has choreographed about the environment, In it, she attempts to link the ongoing global devastation with destructive human behavior. In order to make that proposition danceable (rather than, say, having performers toss cans around and switch on power tools), Muller has defined harmful behavior via the seven deadly sins. In the program, she matches Envy with Covetous Earth, Greed with Violated Earth, Wrath with Violent Earth, and so on. And she lists which of her 12 dancers will most prominently enact each sin and the damage it causes to nature, while Kevin Harkinss video projections trace the planets course from a fiery beginning to a devastated end. Its a choreographic scheme fraught with pitfalls.
The opening of Benchmakes a resonant visual statement. The performers, dressed in white clothing by Eduardo S. Wilder, sit side by side on an extremely long white bench, men and women alternating. When the men lean forward, the women lean back, and vice versa, as if to affirm an innocent, balanced state of nature. While people shift minimally in these even, opposing tides, the music (drawn from four of Jocelyn Pooks CDs) begins with pattering percussion and a nasal voice. Various brief, simultaneous interactionsa slight turn, a gesture, a lookbegin to change the architecture of the line and create crests and gaps.
Very shortly, the group fans out, and Seiko Fujita, a vibrant sprite with two-tone hair, bursts memorably into dancing. Warning: Do not look at the program and try to figure out what sin shes committing, or if shes committing the one shes supposed to be particularly guilty of (Envy) now. Over the course of the work people engage in various dancerly activities at the same time, although sometimes groups of them retreat to the bench. What Muller cant show us is how the snatches of temperament that fly between people can be affecting anything greater than their colleagues (the world, for instance). We know that greed plays a major role in the over-harvesting and over-mining of natural resources, but how is a choreographer to convey that, except in a program note?
We perceive Lust when Jen Peters gets very seductive with her hips, and the other women pull the ogling men back to their seats on the bench. Everyone begins to squirm with sexual fever. Then its over. Pride? Did I see that in a duet for Elizabeth Disharoon and Rekoert? When theyre joined by Fujita, Fiedelman, and Gosa, we must be experiencing Envy. At the time, I didnt really graspor try towhat was so envious about their doings, but I suppose that dragging Fujita away while everyone watches could indicate covetousness. Fights mean Wrath. Disharoon hits Rekoert. He carries in Cardenass motionless body; Hashimoto tries to revive her while Fiedelman inches closer. She (a terrific performer) also takes a turn being dead. Abdul Latif and Bozzetti (Sloth) have a moment of collapse downstage, but nothing in this dance looks lazy.