Theater archives

Heart to Coração


“A Benefit for Alan Danielson” (Limón Studio, June) was all about heart. Danielson, one of the city’s bestloved Limón teachers and choreographers, is recovering from a transplant, and the performances, supported by the Limón Foundation and the New York Foundation for the Arts’ “One Step Forward” Fund (for artists facing health catastrophes), garnered more than $6000 to support his recovery and no doubt warm his new heart. Roxane D’Orleans Juste, performing Donald McKayle’s O’Neero, flew through the studio on a gust of exhilaration. Jennifer Chin performed . . . blink, a flirtatious and fun Danielson work, and Colin Connor offered two contrasting pieces, a comical duet and a quiet, gesture-based solo performed by Risa Steinberg (who arranged the benefit). Also presenting dances were Zvi Gotheiner, Igal Perry, and, of course, the graceful hosts, the Limón Company. —Andrea Menotti

São Paulo’s Cisne Negro Dance Company (Joyce Theater, June) is named for the black swan, a non-native fowl found in U.S. waters because it escaped a zoo or private collector. Hulda Bittencourt’s troupe bears all the grace and impudence of its namesake. Its second Joyce outing opened with Mark Baldwin’s Danses Concertantes, a sharply executed neoclassical romp pairing the jagged, exuberant theatrics of Stravinsky with the dancers’ distinctive pliancy and power. Trama, Rui Moreira’s folkish fantasia, swung the pendulum wide: We thrilled to everything from gorgeous, sinuous horsemen traveling an imagined desert to a chorus of afoxé-dancing, pelvic-pumping gals. Itzik Galili’s unforgettable Earth Apples (with Mercedes Sosa’s voice in full command) paid tribute to people who live simply, directly, and close to the earth. Dany Bittencourt’s In Case of . . . presented a hectic but seamless collage of music and wry, mimetic movement. These swans are some of the smartest, hardest-working artists I’ve ever seen. —Eva Yaa Asantewaa