“Fresh Tracks,” at Dance Theater Workshop Tuesdays through October 3, provides a superb showcase for emerging choreographers and a great service to audiences. I first saw Laila Sales’s CP TIME=FAITH at Riverside Church (where it sizzled), then outdoors at Lincoln Center (where inadequate spatial framing, lighting, and sound made it fizzle). At DTW, Sales’s intent again slams into focus, her dancers clearly trapped in society’s quicksand and distorting mirror, buffeted by outer and inner storms. This CP (colored people?) time, alas, is a time warp hard to escape despite one’s faith in justice.
In Untitled, Paola Ruby Weintraub resembles a Fernand Khnopff sphinx, a pinup, a sex toy. Deceptively quiet, Weintraub nevertheless means to win her watchers: She draws her “line in the sand” and boldly steps past it, then uses it to pen us in. Who’s zoomin’ who? In section 8 of One Magnificent Gesture, Amy Sue Rosen and Derek Bernstein make a folkish, suggestive ritual for Thom Fogarty and Laura Staton that, in its surprisingly harsh end, may comment on matriarchy’s demise. In Empty Tradition/City of Peonies, Yin Mei remembers a childhood full of violence to body and spirit during China’s Cultural Revolution. Dense narrative text battles for our attention, but her solo’s elegant purity of line and poetic imagery win out. Lisa Gonzales and Paul Matteson show Her dream. His waiting for her to arrive., with Szymon Goldberg and Lili Kraus as a conflicted couple. Initially as loose and gangly as contact improvisation, the duet soon reveals deft timing and thrilling musicality. Bringing it all home in Lolita, red-spangled and wonderful Antonio Ramos offers disco’s manifesto “I Will Survive” as a tribute to starving artists.
This article from the Village Voice Archive was posted on September 26, 2000