Echo is TAKE Dance’s assistant director and, like Ueyama and Young, she’s a former Taylor company member. Her 2008 Left There by the Tide likens human entanglements to the ebb and flow of waves. The seven dancers begin by rolling from side to side. They kneel and bend over, their heads touching the floor, their arms floating. Out of this, duets develop and drift away.

The only men, Kile Hotchkiss and John Eirich, do double or triple duty—folding their bodies under, over, and around their temporary partners. Young replaces Arnold in a duet with Hotchkiss, and at the end, she’s in his arms, and he’s rocking her. Eirich is gentle with Park, while his meeting with Tsuda starts out tempestuously and turns into a fight.

McCarron’s costumes for this work well; the lightweight material of the blue and green outfits has a watery afterflow. The mix of music (Philip Glass, Graeme Revell, Damian Eckstein, and Lukas Foss) works better than you might think. Echo says in a program note that the piece’s seven brief sections represent emotional moments in relationships, “beginning and ending in a sea of waves.” She creates some pleasing passages but doesn’t quite convey the interplay of surging forces, tide-pool calm, and small shipwrecks that I think she’s after.

Eiko and Koma ground themselves.
Anna Lee Campbell
Eiko and Koma ground themselves.
TAKE Dance in Takehiro Ueyama¹s "Flight"
Yi-Chun Wu
TAKE Dance in Takehiro Ueyama¹s "Flight"


Eiko & Koma
Danspace Project at Saint Markís Church>
May 27 through 29

TAKE Dance
Dance Theater Workshop
May 19 through 22

TAKE Dance’s performance raises a number of questions, one of them being “What do we hope for when we go eagerly to a dance event?” There are many possible answers. My own include being thrilled by what human beings can accomplish, being made to think in a new way, feeling something resonate deeply with my experience of the world, being delighted by a choreographic language that seems personally forged and alive with implications. Well-made, proficiently danced pieces aren’t quite nourishing enough. For choreographers, daring, even though it may misfire, is worth the risk.

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