Magazine article Dance Magazine

New York on New York

Magazine article Dance Magazine

New York on New York

Article excerpt

NEW YORK ON NEW YORK DANSPACE PROJECT AT ST. MARK'S CHURCH-IN-THE-BOWERY OCTOBER 1-10, 1999 REVIEWED BY GUS SOLOMONS JR.

With the intriguing premise of using New York as inspiration for all the works, curators Neal Rosenstein and Cydney Wilkes assembled pieces by a dozen dancemakers. The result was three programs that represented a variety of dance styles and projected media but revealed few insights. Predictably, prostitution and HIV were broached by Chrystalyn E. Wright and Chris D.C. Ramos, respectively.

Of the works I saw, only Yves Musard's I Make a Motion was faintly optimistic; yet it was a benign, compositionally inchoate slide show with mime about a Lower East Side community garden.

In Maya Ciarrocchi's I can see you Elizabeth Mahaffey was stalked and abused by Lee Shapley; then a large-eyed gray alien (Ciarrocchi) was dogged by a red laser pointer that constantly tracked her body. Risa Steinberg powerfully interpreted "The End?," an excerpt from Rooms, Anna Sokolow's 1955 paean to pathological loneliness.

Seven silver-faced women marched maniacally in spirals in Ivy Baldwin's Interrupted Sequence, a depiction of mass inertia pulling us along unwittingly. Its look of German expressionism is accentuated by Tom Waits's Kurt Weillian instrumental score.

Olase Freeman, improvising esoterically, was seriously upstaged in BLUE: Fear is Anger is Depression by his earthy musician Cooper-Moore, who tootled a pipe, beat a drum, and vividly related a story from his days as a street musician, when the police vandalized his homemade instruments and arrested him just for being black. …

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