Take for example the opening section, which brings to light the status-quo obsession with looks, and body image.  We see dancer, Johnni Durango, enter and stand center stage amongst the inanimate columns and vases.  Suddenly, she is no longer a dancer, but an object: a thing to be looked at, studied, and critiqued… like a piece of art —like a vase!— and perhaps like a candid celebrity beach body shot in US Weekly.  Thanks to a humorous recorded narrative by Ruth Draper, “A Class in Greek Poise,” the words guide us further into this judgmental state of mind. As we look at Durango —tall and slender— we hear Ruth say “214 pounds?…oh its 241 pounds? Bloomers please.”

“Ladies, line-up” Ruth continues.  And Durango assumes a pose on relevé, hands behind back and elbows bent…  like the wings of an exotic bird. (well with plumage like that of her loud, patterned tights, she’d have to be exotic!) Perhaps some abstract ode to Barbie? Or…as Ruth gabs on and on about poise, Durango starts strutting around with delicate, toe-pointed steps; she circles the column-confined area, and I feel as though I’m watching a peacock parading round its pen at the zoo.

Neil Greenberg, who by this point has furtively entered and placed one vase at each column’s base, begins clapping.  It’s not, by any means, directed at Durango, but because of her spatial arrangement, the model strut she just gave, and what transpired in the narrative, I connect the dots, and interpret that he is, indeed, applauding her.

Here’s the unique thing about Neil Greenberg’s choreography:  many of the goings on—the score, the dancers, the set, the musicians—have the strength to operate independently from one another.  But when they do sync-up coincidentally, they suddenly seem intentional… and then there’s meaning in them thar hills!  So although Neil’s clapping at that exact moment may seem intentional in relation to Durango, as the piece goes on, clapping returns in other moments as part of the phrasing, and by contrast we see there may be no meaning at all:  it’s just a neutral gesture.  How about a dancer taking a sip of coffee, followed by a sip of water off-stage?  It appears to be a pedestrian gesture of no meaning.  But take the same movement, and have two dancers do it in unison, and suddenly, I notice myself trying to “figure it out”.

This is Neil’s other obsession, which now has become mine too:  “tensions created by the seemingly inescapable human desire to create meaning.”   The eccentric movements may coincide with the score, and by default, I can’t help but draw a connection for them.  Ruth says “swing your weight forward” and the dancers do swinging movements with their arms.  As musicians, Zeena Parkins and Shayna Dunkelman, tune up the harp and other instruments, the text speaks of using one’s breath like a “musical instrument.”  Another cue, via the text:  Ruth is “prancing through the forest” with the hypothetical fat girls she is coaching.  Greenberg and Luke Miller are prancing about the space too…  in the most laugh-out-loud-funny way!  And later, Paige Martin’s vibrating palms begin as a move all-their-own; but once paired with the echoing sound of the harp, it looks as though she is struggling to cage the sound between her two hands.

I am tickled by my ability to connect the dots and create meaning.  We all are…  everyone giggles with delight at the sight of two dancers sipping coffee in unison.  We all love to feel like we “get it.”  But we also love to be challenged.  Several times throughout the show, a dancer brings a microphone stand on-stage, taps and blows into the mike, but says nothing.  Hmmm…what does that mean?  I question.

Similarly, a move may be repeated several times throughout the show, but in different contexts; the audience is prompted to question why they felt a certain way about it the first time, and differently the second. I watch Mina Nishimura introduce a head tapping solo far upstage left, behind the musicians, and partially obstructed by the light booms.  She is clearly lit, so I am clearly drawn to watch her, and yet this is the first time I give my full attention to a dancer who is not dancing on the white marley, “pedestal” stage.  Shortly after, Collin Stillwell does this same movement on stage, and I wonder:  is it the status-quo to label movement on the marley as “dance,” and movement off the marley as “not dance?”  Does placement determine what something is and isn’t?

The exquisiteness of Greenberg’s work is his ability to provoke such philosophical battles.  Also noteworthy is his ability to give dimension:  the simplicity of his movements, the repetition, the sparseness on stage alternated craftily with crowdedness…also the sparseness in the score alternated with lushness.  There is time for movement, and time to digest.  Repetition occurs, and we reflect once more; contemplate and re-contemplate.  The openness of his dance score allows audience members time and space to think… feel…  and ponder…..  all while experiencing something truly beautiful!  What a wonderful gift!

A cornucopia of beauty, in fact,  besides the dancing, there’s a beautiful set to behold!  Four black vases are lined up in a row:  their stark silhouettes in contrast to the white marley floor.  Also prominent are four white columns, arranged in a square, and a giant turquoise harp upstage.  This scene harkens to Greco/Roman classical art…a Michelangelo painting perhaps.

The harp is obviously functional:  also creating beauty for the ears to hear, thanks to the ingenious musings of harpist and composer Zeena Williams.  In this city where time and space are hot commodities, I rejoice in the moments of inserted breathing time to bring notice to all elements…. even the musicians themselves.  For example, there is a long instance where no dancers are on stage—just the musicians playing their instruments—and I am perfectly content watching them do their thang!

The openness of Greenberg’s dance score lends itself to be pondered, questioned…  and personalized to tastes of the individuals watching it.  My neighbor may see one way, and I another.  Neil’s work doesn’t limit itself to one definition, and that’s part of the gift as well. Greenberg’s passion for artistic statement is strong…  but even stronger is his passion for the audience.  He makes his work accessible, choosing to include the public on his exploration of social norms, as opposed to alienating them with high-brow airs.   How considerate and generous! (like a Vase) is really like a gift: an hour of pure, thought-provoking stage play, handed to the New York public like a delicately wrapped piece of ceramic art.

So little pilgrims, the thanks-giving season is upon us; and now is as good a time as any to remind ourselves the importance of thank you notes.  You may not have liked those pajamas Aunt Millie gave you last year, but you will definitely like Neil Greenberg’s multicolored, psychedelic saggy-crotch tights!…  and even more so, his work (like a vase).   It is a masterfully crafted gem, certainly worthy of the pedestal he puts it on for all to enjoy.  Please thank him by seeing this show!

iDANZ Critix Corner
Official Dance Review by Teresa Lynn
Performance:  Dance by Neil Greenberg
Venue:  Dance Theater Workshop, DTW
Show Date:  November 9, 2010
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The group presents a challenging, fun, gender-bending, James-Dean-inspired trio at Dance Theater Workshop this week.  It is an evening filled with inspired dancing and the witty use of both text and music.

As the lights come up, Michelle Boulé appears seated in a chair, wearing a red jacket and jeans, seemingly dressed as James Dean.  She speaks almost incomprehensibly into a mike, before falling drunkenly to the floor.  I enjoy the confusion of listening as hard as I can; attempting to make sense of her words, but only catching snippets of meaning.  Boulé so fully embodies the character that, even in my confusion, I trust her to take me on this ride.  Then enters Tarek Halaby, dressed as a woman in a wig of curly brown hair and a long blue skirt; he moves with a strikingly authentic femininity.  The pair perform a duet at the edge of the stage, subtly introducing their characters to the audience using subtle and well-crafted body language as their dance vocabulary.  Eventually, Gutierrez joins the pair onstage, at which point the now-trio busts out a section full of dreamy arabesques and stretchy backbends.

One of my favorite parts begins with Boulé and Halaby acting out a scene in which they are the characters from a James Dean movie. Upon reaching the end of the scene, they immediately start again from the beginning.  This time, however, Gutierrez says their lines over-top of them, as if he had seen this movie a million times and can recite all of the lines of all the characters. When the scene begins for a third time, Gutierrez takes over Boulé’s voice completely, while she performs a slow solo; dancing in a downstage spotlight, seeming almost to be having an out-of-body experience.  Boulé rejoins the others, all three pick up scripts, and they begin to recite.  Gutierrez, with the mike in his mouth, reads everyone’s lines with them; the distorted sound lending a sinister feeling to the whole business… The intensity builds as the reading get faster, louder, and more frantic.  Finally, Gutierrez spits out the mike; the others ask him, “What’s your problem?” to which he responds, “I don’t know, but it’s gone now.”  Finding this to be an acceptable answer, the two join Gutierrez for a trio in which each move is announced before it is performed.  The anticipation of seeing what the move will be, after hearing the name, is intensely satisfying, especially with these three creative, beautiful dancers.

One more time, the cast recites their story; then, they strip down to their underwear, shedding their personas along with their clothes.  As pop music blares, the dancers are free, leaping and bounding through the space.  In an exhilarating moment, Gutierrez jumps into the audience, dripping sweat, and climbs up onto the arms of a chair.  When he looks like he will lose his balance, the audience reaches out to support him.  Using their support, he crosses over to the other side of the theater on the arms of the seats, runs back down to the stage, and executes a beautiful series of leaps, as if to say “I am free.”  With the freedom celebration over, the performers collect their clothes and exit the space as a new, younger version of the trio enters, performing even as the original trio bows and the audience leaves.  Brilliant!

‘Last Meadow’ creates a world that I don’t understand but excited to explore with these three amazing dancers.  Miguel Gutierrez is exceptionally creative and smart.  …Now while I am on my way to rent a James Dean movie, you go see this dance.

iDANZ Critix Corner Official Dance Review by Hope Davis  Performance:  Miguel Gutierrez and the Powerful People, ‘Last Meadow’ Choreography: Miguel Gutierrez Venue:  Dance Theater Workshop (DTW), New York City Performance Date:  Tuesday, September 15th, 2009 www.iDANZ.com

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I will start with my least favorite.  Whisper Within by TAKE Dance choreographed by Takehiro Ueyama, Four Screaming Women from Jane Comfort and Company, and Exposition #2 from Mute choreographed by Luka Kito and Megan Boyd.  These 3 works stand out because they are what everyone hates about modern dance.  Pointless, under rehearsed, boring, and quintessential "downtownyness" with unfinished lines, typical, unoriginal, tired, old choreography.  If you have something to say and can’t find an original way to say it, then don’t create work. Modern Dance will never move to the forefront in the art world if we as a dance community don’t say "this is not good," "no one but your friends want to see this," and "stop masturbating on us."  There, I said it.  I don’t want work I saw in college, and I don’t want 4 people talking to me and making gestures and not even able to get the script or the gestures right.  If Cirque De Soleil can do the things they can do, I would like to hope that four people standing on stage saying the same 10 words over and over can actually get it right!

Let’s move on to some better stuff…  Homage to Mahler, by Hanya Holm performed by Betsy Fisher, Sacred Things (excerpt) by Wallie Wolfgruber & Co., an excerpt from View Partially Obstructed from Gina Gibney Dance, Riptide from Banana Peel Dance, a collaborative work between Aaron Draper and his dancers Kimberly Almquist and Nicole Mitchell and Becoming by Li Chaio-Ping.  These 5 pieces are more original than the previously mentioned works; they are better performed, more interesting, have a better use of space, and have an idea that keep me involved.  Sacred Things begins looking under-rehearsed and is looking a little too difficult for the dancers until Ryoko Kudo enters the stage and the piece really begins to take shape.  Her presence is startling, she is fearlessly being thrown and carried and has me on the edge of my seat waiting to see where she will go next.  She saves the first act for me. 

Li Chaio-Ping has some exceptional moments and is very exciting to watch her as she calmly dives into some exciting choreography.  Gibney’s excerpt is beautifully danced.  Her performers are exquisite and seamless, although I didn’t understand the sections that were put together, I totally enjoy watching them, they are completely intoxicating.  These works will keep me from wanting to leave and hang myself from some ballet barre down the street at ABT.

Last but not least, my totes favs of the evening…  Pray/Prey from the Stefanie Nelson Dance Group and Wooden Heart from the Julian Barnett Project.  Both of these pieces take chances and go to places and explore ideas in ways I haven’t really seen before.  Pray/Prey is a trio that explores the control men have over women and vice versa.  With the male literally miming the playing of music as the two girls dance and fall over each other to get to him, they find themselves fighting him, but can’t resist the attraction; it is at times humorous and at times creepy.  I love this piece and will be sure to catch their next performance.  I am totes intrigued!

The piece that closes the evening and for good reason is Barnett’s, Wooden Heart, with music by Portishead,  …so right there they already get 10 cool points because they use music, good music not random sounds from answering machines or whatever some of the the other groups use; it is actually music, with a pulse and a beat and a melody…. I am starving for it.   Anyway, it is a really cool duet where there is a microphone and  performers singing, dancing up against the wall, unison dancing that is creative and organic, AND an interval where Julian’s partner Jocelyn Tobias crawls across stage on her back for minutes…. I am gagging!  I love, love, love it!  It reveals the secrets that lie behind the motivation between the attraction of women and men.  A witty and cunning piece of dance!  Yay!

Friday Night’s Performance of DTW’s DanceNOW was exactly what I remember of my Halloween trick or treat pillowcase of candy from when I was little, some amazing pieces of delicious chocolate, and then some awful packages of old Tootsie Rolls, broken Sweet-Tarts, and rusty pennies.  I am thankful for the fun works I saw and terribly disappointed by what is allowed to be shown and accepted as "dance NOW". 

iDANZ Critix Corner Official Dance Review by Dante Puleio Performance:  2009 DanceNOW (NYC) Festival Venue:  Dance Theater Workshop (DTW), NYC Performance Date:  Friday, September 11, 2009 www.iDANZ.com

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Amber Sloan’s premiere ‘Below’ is the gem of the performance Wednesday night. The piece begins with Matthew Rogers and Sloan slowly rolling with their heads toward the audience, blond hair and brown crashing back and forth like waves, getting progressively faster until she stops him with a swift hand to the shoulder.  Like lovers trying to find a comfortable fit, they wind in and out of each other’s space.  The tension builds as the sound of sirens becomes discordant music and the movement grows more aggressive and three dimensional.  Finally, Sloan breaks out of the pattern to sit in stillness while Rogers continues to fret, rolling back and forth.  Even confined to only seven minutes, Sloan delivers a rich and relatable story.

Kyle Abraham is magic.  It is not only his incredible skill as a performer that is on display at DanceNow (although holy crap he’s amazing), but also his tender and astute choreography.  In an excerpt of his new work, ‘The Radio Show’, he transports us to another world with a dense solo full of rapid gestures, swift falls to the floor, and chilling stillness.  His extreme use of space, combined with stark lighting (with more light on the back wall than on him), make us feel like we are peering into his character’s life.  All of the elements of the piece, including a beautiful version of the song “Smile” performed by Janelle Monet and the wonderful costume by Sarah Cubbage, fuse together to create an incredibly subtle and satisfying slice-of-life piece.

To see a little more of Kyle Abraham, check out his performance of "Brick" on YouTube.

DanceNow not only showcases a variety of talented choreographers, but also the amazing dancers they employ.  Mention must go to Troy Ogilvie and Amber Lee Parker who give a nuanced performance of Sidra Bell’s “your distance kept”, a piece full of complicated rhythms, flying legs and sexy get-ups.  Also, Darrin Wright and Lindsey Dietz Marchant make a charming pair with great comedic timing in “But It’s For You” by Tami Stronach.  The DanceNow festival serves up such a huge variety of dance that everyone can enjoy their old favorites and maybe some new favorites as well.

iDANZ Critix Corner
Official Dance Review by Hope Davis 
Choreographers:  Amber Sloan, Kyle Abraham, Sidra Bell, Tami Stronach Performance: DanceNow [NYC] 
Venue: Dance Theater Workshop (DTW), NYC
Date:  Wednesday, September 9th, 2009 
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