Tag: Nacho Duato

By Walter Rutledge

The Dance Theatre Of Harlem presented their New York City season April 8 through 11 at New York City Center. This is the third season since the much heralded return of the company in 2012, and for the 2015 season Artistic Director Virginia Johnson curated two programs, a total of seven works, presented over four performances. Aside from the two neoclassical Balanchine works the repertoire reflected a new direction for the company.

Many have anticipated the return of the barrier breaking dance institution that literally evolved, under the direction of founder Arthur Mitchell, from Afros to ballet buns. The 2015 New York City season introduced a svelte company of eighteen young dancers that has evolved into a formidable contemporary ballet company. Johnson tapped an eclectic array of choreographers to challenge the dancers showcasing the strengths of each young artist.

The three highlights of the season were Nacho Duato’s Coming Together, Ulysses Dove’s On The Front Porch Of Heaven and The Mirror In Her Mind by Christopher Huggins. These works provided the dancers the opportunity to transcend the physical limitation of the stage. The dancers reached beyond the footlights to touch the audience.

Nacho Duato’s Coming Together kept us on a suspense filled movement roller coaster from beginning to end. This master craftsman skillfully heightened the work’s intensity through strong choreographic structure. His reliance on design produced a kinesthetically stimulating ensemble dance.

Virtuoso dancing performed at a breakneck pace enhanced the choreographic design and brought the company’s technical prowess to the forefront. Here the company was at its best! They performed with verve, vigor, and a strong assured attack- “balls forward”. They were not just dancing; instead the company was in the moment- living through the movement.

Da’Von Doane’s solo courageously “throw caution to the wind”. His risk taking paid off, at one point creating a catalyst effect that seemed to draw the dancers back to the stage. Dylan Santos also distinguished himself with clean execution; his firecracker attack revealed an exciting inner fire.

Christopher Huggins’ The Mirror In Her Mind was a visually satisfying quartet also danced with great aplomb by Ashley Murphy, Da’Von Doane, Anthony Savoy and Samuel Wilson. The dance was filled with sumptuous partnering executed with daring and precision. Leaping, turning and yearning with great abandon, Murphy’s male trio moved her effortlessly around the stage. Her compelling interpretation combined the right amount of strength and vulnerability.

If Huggins had designed a pure movement/abstract work the quartet would have been truly dazzling. As a narrative it lacked the needed character development to create a complete scenario. This dance felt like an excerpt, possibly the middle section from a larger work.

We never knew who the three men really were and what led Murphy on her path. To equate it in more visceral terms it was like sex without foreplay or afterglow- definitely satisfying just not totally fulfilling. A work with this much potential deserves a beginning section to establish the relationships and an ending section for a real resolution.

Ulysses Dove’s haunting allergy Dancing On The Front Porch Of Heaven made its Dance Theatre of Harlem premiered in 2014. The acquisition of this work helped set the tone for the company’s present and welcomed aestheticism. The work set to Arvo Part (Cantus in Memory of Benjamin Britten) featured dancers in white unitards designed by Jorge Gallardo.

The centerpiece of the work is a male duet performed by Anthony Savoy and Frederick Davis. The ethereal nature of the duet created a noble sojourn. Davis’ stoicism balanced Savoy’s brave journey into the unknown. The ensuing performance became a profound conversation between brethren. The final upstage ascent into the darkness was not an ending, but a peaceful walk into “the next”.

Throughout the season there were additional performers and performances that should be mentioned. In the opening section of Robert Garland’s Return, and the pas de quartre in Duato’s Coming Together Jenelle Figgins danced with the appropriate command and temperament. Chryrstyn Fentroy was a beacon of hope in Agon. Her performance in the second pas de trios section displayed technical proficiency, and a sense of confidence and élan. And Keenan English’s clean line and inmate style allowed him to standout in the corps. English has that God-given quality that makes you want to look at him.

As Dance Theatre of Harlem moves forward they will have to decide whether to recreate the Company of old or to move into a new future. Presently it seems they are trying to do both with a modicum of success. It would be a brave and bold move to honor the Company’s 45 year legacy by pursuing a direction more in tune with the present.

This new company could have a bright future if it redefines as oppose to confine itself to a past image and standards. The great response from the large and enthusiastic audience at New York City Center shows the public supports the new direction and has embraced this Dance Theatre Of Harlem. Hopefully they will get the proverbial “800 pound Neo-classic Gorilla” out of the room.