KEIGWIN + COMPANY
June 19, 2012
Twelve chairs decorate the stage, a dancer in each, shifting from one subtle move to the next
– slumping to perched, a heel lifted, then a hand touching the face. The World Premiere of 12
Chairs opened Keigwin + Company’s hour-long program with a series of synchronized, robotic,
always-slightly-different body angles, evolving at times into rippling transitions.
As the work progressed the movements grew more full bodied, with legs swinging, and musical
chair-like switching of places. The dozen chair dancers in an arry of street clothes, looked as diverse as their individualized
styles and comical, exasperated, and entranced facial expressions.
They move into a line downstage rippling their body up and out of the chair to the floor and soon
one-by-one stand and convulse and twist, leaving the audience to wonder who this motley crew
is and where they are going.
A calming pale green backdrop takes over for Trio, danced by Aaron Carr, Kile Hotchkiss and
Emily Schoen, which was commissioned in 2011 by Works & Process at the Guggenheim.
A departure from Keigwin’s comfort zone of underlying humor found in the quirkiness of
movement, this piece is classic and clean-cut. In their chrome gladiator skirts, the three dancers
travel in curving paths, the movement phrases rippling until they suddenly make contact - pulling
and extending their bodies away from one another.
Contact Sport marked the second World Premiere of the evening showcasing a quartet of
playful, flirty school boys moving to a compilation of the raw, sultry lyrics of Eartha Kitt. A
streaming curtain of blue silver streamers serves as the backdrop to their organic interactions
involving gestures and passed contact. The lighthearted dynamic between the four is emphasized
in humorous moments including repetitive ear grabbing, lots of circling elbows, pulling down
another’s pants, and piggy-backing off stage.
Bringing the evening program at the Joyce Theater to an excited close was the presentation of Megalopolis. In this
2009 work that has become a crowd-favorite, it is hard to find yourself not bouncing along
to Steve Reich’s edgy “Sextet-Six Marimbas” which transitions into MIA’s “World Town”
and “XR2.” The clubbing, futuristic beings strut – and I mean strut - across the stage, corner to
corner and through vertical fluorescent lights.
Fritz Masten’s black and silver unitards with differing sparkly blocks on each compliment the
piece perfectly, as do the dancer’s visible “I’m all that” attitudes. Their hips undulating, they
proceed through the space in lines chugging forward and swinging their hips, and as the pace
picks up so does the sassiness and sharpness of their movements. It’s like an alien, partying,
club scene that we all want to be invited to.
EYE ON THE ARTS, NY – Jennifer Thompson