By Miriam Felton-Dansky
By Lilly Lampe
By R. C. Baker
By Tom Sellar
By Alexis Soloski
By Molly Grogan
By R. C. Baker
Philip Treviños set design consists of gray, translucent hanging on three sides of the stage, with three doorways on either side; later an additional backdrop falls to suggest a colonnade. The choreography emphasizes the porousness of these walls by using the space beyond them. Suddenly you notice Ellie Kusner walking in an exterior corridor. The costumes by Renée Kurz are mostly gray, partly satin, and draped in various ways. But Treviños magical and impulsive lighting turns this monochromatic world pink, partly blue, and at one point entirely red.
It is a world, and an intriguing one. The performers come and go about their enigmatic errandsmostly serene, yet vividly present in the movement, and always aware of one another. They dance marvelouslyin pairs, alone, in groups, in unison or in counterpoint, never staying in one situation for long. Tanowitz lets you see the differences among the three men (Crossman, Glen Rumsey, and Rashaun Mitchell) and the distinctive virtues of, say, small Christina Amendolia and tall, lanky Ashlie Kittelson. We live with them for 55 minutes, almost every one of which enlightens us.
The 2010 APAP is over and gone. Lets hope, when the dust and glitter and sweat settle, that some companies get more work than they dared hope for and that far-flung audiences learn to love them.
Correction: In my recently posted review of New York City Ballet, I gave David H. Koch, for whom the New York State Theater has been re-named, the wrong middle initial.