David Parsons dance 311.
(photo credit: Courtesy)
David Parsons, once a charismatic dancer with Paul Taylor, formed his own dance group a quarter of a century ago. Since its inception, it promotes rather conservative, American style modern dance.
Parsons Company evenings are based on several short pieces set to wide-ranging musical sources, anything from classical to pop to accommodate any taste, while more and more leading contemporary companies aim to explore and challenge dance borders rather than succumb to audiences’ comfort zones.
The safe path is probably the reason why so many of Parsons’ more recent works don’t necessarily look any fresher or truly uplifting. Almost all could have been made in the eighties, even earlier.
Within its own genre perimeters, Parsons Dance is rather successful, tours a lot, and its last visit to Israel was three years ago. It performed different repertoire but similar materials; mostly flowing movements, vibrant energy, many turns, whirls and dainty jumps within rather basic structures and dated lexicon.
Duets within the group works were more credible and held real warmth – in particular when radiating dancer Abby Silva Gavezzoli was present, for she is by far the one with the strongest dancing skills. She managed to infuse energetic details to her moves and turn a series of movements into a meaningful display. Most other dancers were doing well but lacked depth and true luster.
Best of the crop was the duet Brothers
, which Parsons composed with the witty and spicy choreographer Daniel Ezralow.
Having seen Caught
– a solo for
a very athletic dancer who can do 100 jumps in 6 minutes – a few times
before, and even knowing that the magic produced by Strobe light is a
mere illusion, it’s still surprising, like a good trick.
Due to carefully synchronized moves and regular flashes the dancer appears to be caught in mid-air, never touching the ground.
That’s simple magic, but it works.