Performing Arts: Dance
March 18, 2016
Part of Paul Taylor’s new dance model, for Paul Taylor's American Modern Dance, involves the inclusion of commissioned works by contemporary choreographers as well as the insertion of modern dance classics. On the gala night, Larry Keigwin stepped up to the plate showcasing an exhilaratingly aerobic piece to a score by Adam Crystal.

Light sprays through a thin curtain of fog (Jennifer Tipton mined this style of lighting in the 1980’s) establishing a vanishing point for the dancers who race full-tilt in and out of view. This makes sense considering the title “Rush Hour” and the physically strong company members. Where Keigwin truly shined was in his manipulation of groups; breaking dancers into trios and quartets, as well as criss-crossing space in near collision circuits. Dancers race, walk, drop and pop up at times referencing Tayloresque runs -- arms bent at the elbows like sprinters—or Grahamite hunched over runs/leaps-- all knotted into Keiwgin’s own brand of youthful verve. "Rush Hour" swept up the enthusiasm of young people in the audience (many attending courtesy of Jody and John Arnhold) and garnered a standing ovation.

The gala evening closed on “Promethean Fire” (2002) Paul Taylor’s abstract, but emotionally overpowering choreography. Set to Johann Sebastian Bach’s popular “Toccata & Fugue in D minor” bodies formed whirlpools of motion that magnetized into volcanic forms only to erupt into tumbling forms. A communal expression of salvation and support, the pristine Taylor classicist, Michael Trusnovec led the strong company with the fearless Parisa Khobdeh.
EYE ON THE ARTS, NY -- Celia Ipiotis

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