Live--Almost But Not Quite
Smuin Contemporary Ballet
2020/2021 Virtual Fall Season
Program Program A, Nov. 18, 2020. 4:30 pm
Program Program B, Nov. 11, 2020. 7.30 pm
Watching dance on screen is not exactly new, but it took a global catastrophe for those of us who cherish live performance to realize that sitting in front of a screen might become the new normal. There may be hundreds of dancers who have created works on themselves in the kitchen, a balcony or, as Alonzo King Lines dancers did, in the wilds of nature. Each one worked on her or himself but, surely, often wished for a partnerIn the last six months, I have seen my share of these brave efforts to keep bodies in tune and spirits alive.
But making and performing are two different disciplines. The compulsory quarantining, perhaps for reasons of practicality, solos and duets predominated, most of what I saw was forgettable. So it was encouraging to see that even with the given restrictions, Smuin Contemporary Ballet's Virtual Fall Season, presented well-thought out programs of new and less-so dance. The company divided its dancers into three groups, commissioned premieres from its dancers and complemented the lineup with selections from the "Smuin Songbook." Set in a garden, enhanced by a charming central percola, with four dancers in each of the two programs, I saw, the format offered nicely shaped choreography, in addition to the more intimate looks of the dancers than the much-missed live performances might offer.The women danced on point, in slippers and heels.
Delicately realizing Smuin’s bitter sweet 'Summertime,' Cassidy Isaacson also signed on as choreographer for program A. With “Underwaterfall” she introduced Brandon Alexander, the company newest member. He is a tall strongly articulating performer for whom liquid stretches, suspended elevations and precise gestures seemed as comfortable as embracing the intimate and large space at his disposal. With a flair for drama Alexander showed himself a multi-talented artist of considerable interest.
Isaacson’s “Chemistry”, choreographed on Terez Dean Orr and John Speed Orr, had an elegant swing to it. Traditional ballet moves such as mirroring and unisons gave way to more contemporary moves such as pretzel lifts and dives between the legs. Well-paced and well performed, I wish the work had conceptually been been a little a more daring. The piece then transitioned smoothly into Isaacson and Alexander's version of “Chapter 2”. For a moment it seemed like a tribute to their colleagues. But then it recalled Trisha Brown moves with which she introduced having dancers enter in equal steps, as if there were others come. For a showy finale Dean Orr raised his beaming spouse/partner straight overhead, a note of triumph if ever there was one. Smuin would have smiled.
The excerpts from the "Songbook” served as a reminder that some of the late choreographer's finer works were based on popular songs, often created for specific occasions. In ‘Moonlight Serenade,’ to Frank Sinatra, Dean Orr and Speed Orr delivered glitz and charm in about equal measure, but not without some intimacy that suggested deeper emotions. Her partner's buoyant presence and his spitfire technique in 'That's Life' made me appreciate this dancer's return to the ensemble. Both Speed Orr's returned with 'These Foolish Things' in suave, almost cheek-to-cheek dancing popular in New York's grand (mostly all white) ballrooms. They closed the program with a steamy 'Que Rico Mambo'-- staccato footwork tempered by rollicking hips and shoulders.You couldn't help to go along by at least tapping your feet.
The second program opened with the premiere of “A Wandering Mile” by Ian Buchanan and Maggie Carey who also performed with colleagues Tess Lane and Max van der Sterre. Despite its name this quartet was anything but pedestrian. Maybe initially drawn as a map it came to life as an amusing essay on the possibilities of a foursome's combinations in a given space. This "Wandering" suggested togetherness despite separation. This was completely satisfying dance making the most within what was possible.
Buchanan’s take on 'That’s Life impressed with the speed and dexterity of his footwork. It hid an lol moment when, after a leap and dive into the belly flop, he pretended not to remember where he was. The ambling walks, swings and physical hiccups in Buchanan and Carrey’s jazzy duet in 'Straighten Up and Fly Right,' to Cole Porter via Linda Ronstadt, highlighted Smuin’s predilection for “novel” lifts. The piece was fun to watch, but some of it looked as if taken out of a box of tricks. Much less showy and a surprising touch was Carrey in 'When You Wish Upon a Star.' First a meandering and softly stepping searcher, she dejectedly sunk into a split, stretched herself along the ground with her arms becoming a blanket. If were are so inclined, you probably you could see a grave.
With relative newcomers Tess Lane, a pixiish firebrand of a dancer and the sturdy elegance of Max van der Sterre, Smuin Ballet has found two wonderfully compatible dancers. The fun in watching bothin 'Georgia On My Mind' and 'Que Rico Mambo' was to see the mutually playful sexiness spiced with a good dose of eroticism. They were Michael Smuin ballets indeed.
copyright © 2020 by Rita Felciano
