Amo, Amas, Amok


Colloquium Contemporary Dance Exchange’s smartest project, “40Up,” nestled prime-time dance artists in the clean, classic St. Mark’s sanctuary. David Parker vamping in Half Full, sequins glittering on his newly sleek body; the lush duets (and a trio introducing baby Raphael Oettl) of Zvi Gotheiner’s Enfold; Claire Porter’s witty ensemble in Between the Lines: These and a score of other “elders” demonstrated clear mastery of their medium. —Elizabeth Zimmer

From pianist-composers James Gordon and Gary Pozner to transcendent ballerina Eva (Evdokimova) Gregori, Angela Jones kept good company in “Unbound” (Clark Studio Theater). Collaborating with other choreographers, Jones swung from the fluffy You Got the Time with tapper Barbara Duffy to the sensuous L’Amour Est un Oiseau Rebelle!, where, suspended in tensile fabric, she plunged and dangled alongside agile Sara Baird. After flinging her red mane a few too many times, Jones was most effective in Grace, a solo that distilled her dramatic focus. —Suki John

More virtuous than good, Circus Amok spiked its tumbles and tricks with doses of propaganda, depicting the Rudy-Hillary-Rick race as a vaulting demonstration and railing against dotcoms during a spate of stilt walking. The political skits were sweet if facile, as was the old-school liberal ethic. And the feats of derring-do were often derring-don’ts. Ringmistress Jennifer Miller recruited an enthusiastic troupe, but few possess real skill as acrobats, jugglers, or clowns. The full-sized cardboard elephant, however, could do no wrong, and left no nasty messes. —Alexis Soloski