Yerba Buena Center for
the Arts Theater, San Francisco
Nov 29th,
2016
DanceFAR’s (Dance For A
Reason) annual fall gala never disappoints. Co-founded by Margaret Karl, Garen
Scribner and James Sofranko, it has been a shining star in the San Francisco
dance season for the past four years and 2016’s edition (the fifth anniversary)
was no exception. Each year DanceFAR hosts a diverse group of local and
visiting dance artists in an evening-length concert benefitting the Cancer
Prevention Institute of California (CPIC). And aptly, this year, the gala was
held on Giving Tuesday. Outstanding performances with an authentic sentiment
and genuine spirit of giving back - this is DanceFAR.
Duets dominated both
halves of the program, each delivering a distinct perspective on physicality
and movement in space. Erin Yarbrough-Powell and Ben Needham Wood of Smuin
opened the night with a stirring pas de deux from Stanton Welch’s Indigo. Toggling between luxurious flowy
movements and staccato pulses, this brief excerpt left you wanting more. And
the ending lift was spectacular – Yarbrough-Powell in a seated position, balanced
high above Needham Wood’s head. Specified directional shifts reigned supreme in
Robert Moses’ This State of Annihilation,
danced by Norma Fong and Crystaldawn Bell Galante of Robert Moses’ KIN. Half
unison, half partnering/soloing, this unique take on contemporary technique
blended second position, arabesque and passé with intense traveling sequences,
including chaînés on the diagonal, pas de basques and even some soft shoe
time-step footwork. Next, Jermaine Spivey and Spenser Theberge took the stage
in an excerpt from their Rather This,
Then, an essay on articulation, physical possibility and in-the-moment
interaction. Billed in the program as a ‘structured improvisation’, I was so
curious whether there was any set phrase material or perhaps, key prompts
informing this captivating work.
ODC/Dance brought a
portion of Kate Weare’s Giant, one of
the three ensemble offerings on the program. Mechanized patterns and lush
undulating meet in this dance, as does a strong statement of control and power
dynamics. Several points throughout the piece saw one dancer orchestrating and
shaping the movements of another. Julia Adam’s tortured duet Grandma and the Wolfie followed, performed
by Travis Bradley and Virginia Pilgrim Ramey. While compelling for its technical
accomplishments, it was the form of this duet that really struck. It began
almost like a solo for Pilgrim Ramey with Bradley traversing the perimeter of
the stage around her. And then later, much of the initial phrase material
recurred, but this time, partnered. A very interesting structural approach
indeed.
An audience-favorite
from last year, Art of Teknique was back with another phenomenal freestyle
program of physical poetry. And dawsondancesf closed DanceFAR’s first half with
an excerpt from Gregory Dawson’s Gestures
and Angels, a contemporary ballet full of passion, ferocity, speed and
level changes.
The second half of
DanceFAR 2016 began with a dance of storytelling, an excerpt of Tristesse by Marcelo Gomes. Gomes and
Sterling Baca took turns expressing their reality through movement as the other
sat ‘listening’ intently downstage right. Baca’s part of the conversation was
peppered with suspension and release while Gomes’ was humorous and playful, and
even had a little West Side Story
snapping built in. Flying Under the Radar premiered @_FUTR_, a highly technical contemporary duet with costumes that
reminded of Alwin Nikolais.
Sofranko’s SFDanceworks
presented the world premiere of Danielle Rowe’s For Pixie, expertly interpreted by Brett Conway and Laura O’Malley.
Here was a snapshot of a couple; a glimpse into their relationship. The
partnering had such a wonderful forward motion to it, entwining these two souls
for this one moment in time. An emotively rich duet was proffered by Alivia
Schaffer and Dwayne Schueneman of AXIS Dance Company in Judith Smith’s In Defense of Regret. Schaffer and
Schueneman spent the majority of the duet near each other, but separated. When
they finally grasped hands and circled each other, it was pure and poignant.
Sofiane Sylve and Carlo
Di Lanno of San Francisco Ballet danced the Diamonds Pas de Deux from George
Balanchine’s Jewels, an elegant,
regal and grand expression of technical brilliance and beauty. And while the
piece does not seek to tell a story, there is a narrative fiber hidden deep in
the choreography. As the dancers float, glide and move about the space, there
is a subtle elusiveness at play, like they are trying to actually catch the
sparkle and glimmer of a diamond. DanceFAR 2016 concluded with an excerpt from
Garrett + Moulton Productions’ summer premiere, Speak, Angels by Janice Garrett and Charles Moulton. In an expression
of constant motion, six soloists and a movement choir of eighteen embodied the
joy, intensity and fervor that is choreography and community. A perfect ending
to a glorious night.
1 comment:
Wonderful summary. You nailed the artistry an energy on display. All for a great cause.
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