Batsheva Company 370.
(photo credit: Gadi Dagon )
The Batsheva Ensemble functions alongside its mother company, Batsheva, so as
one might expect the trainees perform pieces from Ohad Naharin’s repertoire,
sometimes adapted for schools. But once in a blue moon, they also perform works
by guest choreographers, and fortunately, this evening was of the latter
variety, and an exciting evening it was.
The company hosted two
ex-Batsheva dancers: Danielle Agami, who in the past couple of years has resided
and maintains a company in Los Angeles, and Hofesh Shechter, who left a decade
ago and now is an associate artist at the renowned Sadler’s
Hofesh’s career took off with unprecedented acceleration, and now
he has found time to give the Ensemble an allmale version of his piece Uprising,
which launched his international career in 2006.
The rendition by seven
Ensemble members looked as good as any by Hofesh’s own company’s dancers, whom
I’ve seen on several occasions. Perhaps because Hofesh’s lexicon is not totally
alien to them as he incorporates residues from his days with Batsheva, where he
formed his basic body perception.
Lighting design by Lee Curran left the
stage foggy and much darker than before, with the few beams slicing the darkness
concealing more often than exposing, enhancing the drama and adding a layer to
an already strong piece.
The Ensemble’s female dancers also put on a good
show in Danielle Agami’s work, Shula, the real surprise of the evening. The
dancers were amazing; stronger than ever and more sensitive, their individual
personalities shining through.
With intriguing imagination,
well-developed craft and an eye for nuance, this budding choreographer may
surprise us yet.
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