Dance Review: Buglisi Captivates at the Joyce Theater

I was very excited to see Buglisi Dance Theatre perform at the Joyce.  I had seen reviews about the company in the past and heard that they performed at such festivals as noted as Jacobs Pillow.  I also noticed how intricate their costumes were whenever I saw their pictures in Dance Magazine.  I took my friend, Logan, to the show with me.  Being a dancer/choreographer herself I figured she would enjoy the show. 

 

Interplay No. 9-1:

The curtain came up to show the dancers already walking around on stage in black tight jazz pants with solid colored leotards or shirts for men, hair half down and a few chairs on either side with a dance space in the center.  The dancers were very interactive with Melody Fader, the pianist, and often looked at her or applauded her during the dance.  Because of this set up, the dance reminded me of the comforting feeling of being in class or rehearsal or even doing a technical lighting rehearsal on stage before a performance.  The dance built up in intricacy, and almost became like a “choreography showing” with pairs of dancers performing for the others while they watched intently in their chairs.  The movement was very dance student friendly.   I could imagine a group of dancers attempting this sort of movement if they had a stage to themselves for a moment.  After coming from rehearsal earlier that morning in which I was asked to improvise lifts with other dancers, I was inspired by all the good lifts that were utilized in the piece.  This very feel good dance featured Buglisi’s talented principal dancers Helen Hansen, Junichi Fukuda, Christina Ilisije, Jason Jordan and So Young An.

Threshold:

Choreographer and Director Jacqulyn Buglisi used the following quote in the program for this piece:

“Who if I cried out would hear me among the Angels’ hierarchies?  And even if one of them pressed me suddenly against his heart, I would be consumed in that overwhelming existence.  For beauty is nothing but the beginning of terror, which we still are just able to endure and we are so awed because it serenely disdains to annihilate us.  Every angel is terrifying.” — Rainier Maria Rilke

Based on the name and seeing the sight of a woman trapped under a translucent white shroud, church bells of death ring out, I instantly feel the urge to cry.  It appeared to me that the woman was struggling to cross over.  Perhaps in the process of her dying she crossed over momentarily to be held by an angel that is represented by a monstrous looking man, the movement is beautiful, slow, strong and very similar in style to Martha Graham.  He holds her tightly and carries her as if gravity did not apply in this new atmosphere. The partnered lifts were incredibly difficult, clearly requiring great strength and practice.  At the end the angel returns her beneath her shroud where she continues to struggle to press through but is unable to. This piece is extremely moving; so much so, that this dance seems all too revealing, as if to portray more of what was going on through those last few days of life.  I can’t help but think about my own experiences with a death of a loved one, my father, who passed away of cancer less than a year ago. Watching it now I can find more peace, but for anyone watching this who may be in the same situation that I was in this time last year (waiting for the worst possible thing that you can’t stop from happening) then I recommend you bring understanding friends, tissues, and sit near the isle in case it moves you too much.  I’d personally like to thank Jacqulyn Buglisi for exploring this idea and choreographing it so well.  I’d also like to thank tonight’s performers Virginie Victoire Mécene and Kevin Predomore for their strong performance.  If you three have ever wondered if you have truly moved an audience member, you have.

Suspended Women:

For Suspended, the audience was presented with seventeen women on stage with old-fashioned ball gowns that women of that time were expected to wear everyday. The dance seems to show the awful side of being a woman in those days, when they were treated like dolls instead of equals.  Four men in suits and bare chests appear and the women react in despair. The men carry them around in uncomfortable positions (like dolls). The women care for each other in a tender, sister-like way as each one collapses at one point. The dancers, all looking beautiful in this piece, with the gorgeous dresses, just look exquisite on stage in their costuming, especially in the lifts.

 

Wild Mannequins & Wing Walkers:

A visual sensation. Delightfully absurd.  Amazing costumes and interesting mannequins placed on the sides and hung in a row above the dancers.  Jacqulyn Buglisi calls this dance "a metaphor for our time" and I agree.  I thought it was interesting listening to different women on stage reading passages about famous women throughout history as well as fashion standards that changed over time. The costumes were amazing.  It’s not always easy to look good wearing white, but dancers like Helen Hansen and So Young An definitely have the body for it.  Personally I think Helen has an amazing look for musical theater with her face and her blonde curly hair, but her dancing definitely fits this company (which is why after seven years with the company she has been the rehearsal assistant).  In the post talk, Buglisi said "if women ran the country, this is what it’d be like.“  Thoughts like these, and being influenced by commedia del arte were a part of the creation of this piece, as well as collaboration with the dancers who were asked to research important women in history and deal with complicated moving tasks that added texture to the piece.

The dancers are all technically proficient and you can tell that they have had ballet training and professional experience.  I think the use of the word “theatre” in the company name is justifiable because Buglisi creates a show with more than just dance.  Each work, and the show overall has a strong theatrical feel that would be of interest to more than just dance lovers to come and watch.  And as a dancer, this company leaves you wishing you could be a part of the company!  It is not every day that I see dancers with such confidence and poise on stage.  Buglisi dancers possess the ability to catch your eye and maintain your focus.  I hardly blinked while watching the performance!

Overall I really enjoyed the show.  The opening piece was light and happy and the second piece was really emotional for me to watch. The third piece was captivating and the last piece was inspiring and fantasy-like.  I thought it was a good note to leave off on.  Wild Mannequins & Wing Walkers is definitely a piece best seen on stage rather than on youtube.  The layers in the piece leave a good last impression in your mind before going back on the subway (where I was actually sitting near some of the dancers who, turns out, live not that far away from me).

Congratulations to all the performers and a special congratulation to Jacqulyn Buglisi for your strength to choreograph during times of personal crisis, your creative vision to create a world premiere that speaks to our time, and your knowledge about how to keep a GOOD company going strong since 1994!

Photos by Kristin Lodoen Linder, "Wild Mannequins and Wing Walkers"

iDANZ Critix Corner
Official Dance Review by Jessica Shahinian
Performance: Buglisi Dance Theatre
Choreographer:  Jacqulyn Buglisi
Venue: Joyce Theater, New York City
Date:  February 4, 2009
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