This small repertoire company composed a diversified program, covering three
decades of dance, designed to please any audience, particularly an American one.
The result is rather lukewarm.
It opened with Last Look (1985), not a
typical Paul Taylor piece. Taylor, a disciple of Martha Graham, has an iconic
place in American modern dance. Here, he abandoned his famous happy fluency in
favor of miserable, possessed souls, doom to prance, shiver, jump and fall as if
suffering from fever. It was probably one of this overrated choreographer’s
least sensible pieces.
The weightless yet entertaining piece Scorched,
choreographed by Kate Weare, was structurally reminiscent of some lovely pieces
by greats of the former generation such as Donald McKayle and Alvin Ailey,
soaking dance in deep human touch.
Our own Sharon Eyal, with her Killer
, proposed a juxtaposing viewpoint, and popped another pea from same pod,
namely her line of recent works. She retained huddled unisons, a regimented
approach with uniform-looking dancers, expressionless, like humanoids on a
The work’s strong points were the musical backbone by Ori
Lichtik and sophisticated lighting artistry by Yona Avi Bueno, a master who
raises the caliber of any work he’s involved with by three notches.
best of the evening was a short piece by the company’s artistic director, Paul
Gordon Emerson, who choreographed Falling
, a short duet set to the haunting
music of Arvo Part. The well-balanced piece was danced by Jason Garcia Ignacio
and Kathryn Sydell Pilkington, whose execution was sensitive, delicate and