By Miriam Felton-Dansky
By Lilly Lampe
By R. C. Baker
By Tom Sellar
By Alexis Soloski
By Molly Grogan
By R. C. Baker
Black may be perennially chic, but in dance its the color of rigor. When drums sound in Jonathan Melville Pratts score for Larry Keigwins new Triptychat the Joyce, and seven dancers wearing black trunks with different, banded tops start vaulting on and off the stage, you know youre not going to see warm-and-cuddly. Liz Rigas hair, an unruly mop in the preceding Natural Selections(2004) and Love Songs(2006), is slicked back into a bun; so is Ashley Brownes. When Brian Joness lighting for Kate Weares premiere, Lean-to, at Danspace the same week reveals Leslie Kraus staring at Adrian Clark and Douglas Gillespieall dressed in blackalarms go off in your head, and the three havent even begun to move yet. The costumersKaren Young for Triptych, Sarah Cubbage for Lean-toknew what they were about.
One of Keigwins greatest gifts is for revealing the individuality of his champion dancers. He lets you see them; he allows you to love them. When Triptychbegins, youre already familiar with small, spry Ying-Ying Shiau; shes the one who, with the help of her colleagues, runs along the back wall of the stage, about seven feet above the floor. You remember statuesque Riga in her two Love Songs duets with the somewhat smaller Julian Barnettshe clinging to his legs in the first one, in the end carrying him off. In their second duet, Barnett, no longer waggling his pelvis enticingly at her, is the needy one, and Riga is the triumphant bombshell that Nina Simone is singing about in I Put a Spell on You. You recall Alexander Gish loping close to the floor in the simian beginnings of Natural Selection(a terrific piece), or Nicole Wolcott clinging underneath Barnett like a baby monkey as he crawls along.
So when they perform the very formal Triptych, along with Browne, Matthew Baker, and Ryoji Sasamoto, youre not seeing them simply as an ensemble. The choreography doesnt focus on individuality, but the fact that you know them as individuals adds pungency to a piece thats mainly about movement and pattern. I mentioned rigor. This is also a very fierce dancefierce and precise, like a martial arts display. To Pratts muscular, dramatic score, in fine lighting by James F. Ingalls, Keigwin lays out contrapuntal designs rife with flying jumps, tipped-over spins in arabesque, and other maneuvers that hint at ballet moves. But the dancers arms slash and windmill straight from the shoulder or angle sharply; curves are hard to come by. Andexcept for moments like one in the calmer second part when Gish, Baker, and Riga put their palms out as if checking for rain, and Shiau and Sasamoto recline like odalisquesthe performers attack the steps like warriors or people who got up on the wrong side of the bed and are challenging the day tight-lipped.
I admire the fact that Keigwin is always setting new challenges for himself and bringing them off through skill and imagination. He can be entertaining without sacrificing scrupulousness, and his tastes are far-ranging. The electrifying Triptych may be the most severe work he has made to date, and he follows it at the Joyce with his wonderful Bolero NYC(co-choreographed with Wolcott), in which his company is joined by a horde of 50 people of all ages and sizes, wearing mostly red and clothes. Yet Bolero, too, is ingeniously engineered. It builds in complexity and excitement as Ravels famous repetitive piece rages to its finish, and the choreographers find ways to highlight every performer: the wild-child dancers; the plump flirt ringed by interested men; the woman walking her little dog; the two gay guys who find each other and kiss exuberantly; the baby left alone onstage for several seconds; the genial biker; the woman who pops up from a sudden cluster of people, swanning in a feather boa we havent noticed before (but see later on the very tall man who has stripped to trunks and a necktie). All the worried, the hurried, the preoccupied, the crazed come and go, meet and part, form groups, and parade across the stage on a quickly unrolled red carpet like the stars they are. In the end, they all whip out cell phones, and in the sudden darkness wave their little blue screens at us. We wave ours back. Hey, New Yorkers, who needs fireflies?
Weares black-clad trio, Lean-to, explores some of the same violently passionate human intersections that fueled her 2008 quartet, Bridge of Sighs (which followed the new piece on the Danspace program). Nothing in Lean-to is quite as quizzically ferocious as the sparring between Kraus and Gillespie that begins Bridge of Sighs; at one point, in that close duet of slapping and kicking and twisting (a beyond-decorum allusion to the tangos that Weare loves), Gillespie pats Krauss lifted forearm so rapidly that his hand becomes a blur. But, as in the earlier work, the images in Lean-to tell of dependency and collaboration, of desire and sudden rage. Its title conveys not just a shed attached to a house, but the act of leaning. An immense curved white sail by Kurt Perschke tiltsloomsover the space, as if a perpetual wind were pushing it. While Kraus watches from afar, Gillespie and Clarkclose to the structure and shoulder to shoulderside-step, make a half-turn, and stop; side-step, return to place, and stop. They do this several times, until they seem almost to be rocking between two extremes.