Dance Review: Icetree

The new theatrical dance piece by acclaimed choreographers Inbal Pinto and Avshalom Pollak leaves something to be desired.

July 29, 2017 21:54
1 minute read.
Israeli dance review

Icetree dance show . (photo credit: PR)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Inbal Pinto and Avshlom Pollak Dance Company
Suzanne Dellal,
July 21

Icetree, by Inbal Pinto and Avshalom Pollak, came with high expectations.

Pinto and Pollak, longtime collaborators, have produced a long line of refined theatrical dance pieces, each one unique but all interlacing poetic touches with the theater of the absurd, Ionesco-style.

Be the first to know - Join our Facebook page.

But Icetree is not truly a new creation; it strongly leans on Rushes, a 30-minute work created in 2007 by Pinto and Pollak for the American dance company Pilobolus.

After Pinto and Pollak took some time apart, the pair returned to collaborate and turn the brilliant material of Rushes into a full evening work, expecting to preserve the original material and mesh it with additional elements to offer a relevant work with a character of its own.

Rushes was an extremely tight and cohesive creation and its excellent dancers filled it to the brim with grace, rich expression, virtuosic movement and a nonchalant attitude. It was witty, poetic and sparkled with refined tailoring. Icetree enjoys most of those traits; it’s full of creative imagination, busy with unusual actions and maintains the familiar touch of Pinto and Pollak’s pedantically detailed work.

Yet, it lost a noticeable measure of the individual voices of the dancers as well as some of the burning inner energy and fast rhythm. Somewhere in the process, the work was somewhat diluted compare to Rushes, which while tailored for Pilobolus fitted just as perfectly for its Israeli implementation in 2009.

There were too many repeated motifs, like the simulated ice skating, which shed some of the original’s poetic value.

The role of veteran Zvi Fishelzon, the company’s mascot, relied mostly on an overused stage persona, already a cliché, excluding the ending.

Most of the highlights of that evening, namely the acrobatic male trio, the carousel, the brilliant art-video and the female’s duet on chairs were taken from Rushes, and were not matched by the new material. So why replace an excellent work with a merely decent one?

Related Content

August 15, 2018
Security expert: Crackdown on left-wing groups could foment extremism