10 Hairy Legs Kicks Off New York Season Tonight

10 Hairy Legs Kicks Off New York Season Tonight

Randy James' all male dance company, 10 Hairy Legs, appears at New York Live Arts tonight, June 26-28 at 7:30 pm and June 29 at 2:00 pm. Continuing the company's aggressive repertory expansion that explores the range of the male dancer, the four performances feature two programs with works by Julie Bour, David Dorfman and Dan Froot, Doug Elkins, Tiffany Mills, David Parker, Claire Porter and Randy James. Tickets are $20 for General Seating, $15 for students, seniors, artists, and New York Live Arts Members.

New York City Premieres:

Julie Bour's quartet "The Blind Men and the Elephant" features a newly composed score by Kyle Olson, a frequent collaborator of Bour's. Combining the exploration of her medium with theatrical collaborations Julie crafts her language over time by consistently working with a diverse group of celebrated dancers committed to dance invention. Scenic Design is by Benjamin Heller. The work was underwritten in part by a major grant from The O'Donnell Green Music & Dance Foundation.

Doug Elkins' "Trouble Will Find Me" features five company members in a rousing work set to the music of Nusrat Fateh Ali Kahn, an internationally acclaimed Pakistani musician, who was primarily a singer of Qawwali,

David Parker has reimagined his duet "Friends of Dorothy" for 10 Hairy Legs that was originally created in 2003 for Jeff Kazin and Parker for their company The Bang Group. It features a musical score with selections from the Barn-Raising from "Seven Brides for Seven Brothers" (MGM 1954) by Gene de Paul; "Why Not Me" sung by the devotional music of the Sufis. The movement incorporates floreos (small, expressing hand movements used in Spanish dancing), floor work, Capoeira and Salsa. Elkins stated, "I am interested in conversations that deconstruct dance forms and in this work have indulged in the men's sensuality and funkiness while integrating the company members' individual corporeality to create a composite." Costumes are by Oana Botez.

Debbie Reynolds, music by Jay Livingston and lyrics by Ray Evans; and "Somewhere Over the Rainbow" sung by Jane Powell music by Harold Arlen and lyrics by E.Y. Harbur.

Randy James' "Closing the Glass Door," set to the Haendel-Halvorsen Pascacaglia, a duet for Violin and Cello, had its debut performance at Raritan Valley Community College's "Dances from the Garden" in September 2009. In his review, Star-Ledger critic Robert Johnson noted, "One of the beauties of a subtle dance like this is that it doesn't slap on a label or supply an easy answer that will stop the viewer from thinking. Instead the dancers' physicality insinuates what different kinds of intimate relationships might have in common."

Tiffany Mills' work for five dancers, "It Only Happens Once...Yesterday and Tomorrow" is, as stated by Mills, "based on a recurring dream that begins exactly the same way. The piece is constructed in three sections, each starting with the same image and then vastly diverging in movement, content and relationships. To build material with 10HL, I engaged the dancers collaboratively, as I do with the Tiffany Mills Company. Phrases were learned then pulled apart and manipulated; fundamental partnering concepts were taught and then tasks were given to create fresh partnering material. Each iteration of this work becomes its own entity, as I allow dancers to infuse the work with their own quirks and personalities."

Other works:

David Dorfman and Dan Froot's "Bull" in many ways was the "son" of "Horn" (1990). It was the first in a series of three original duets that comprise "Live Sax Acts" by David Dorfman and Dan Froot. Where "Horn" was a non- verbal, sax-playing, body-flinging show of affection and competition charting Dan and Dave's budding friendship, "Bull" dug deeper, using verbal improvisation and provocation amplified through electronic bullhorns to excavate intimate feelings rarely shared by heterosexual men together. The fifteen minute performance piece features a slap dance, replete with pleasantries exchanged in a banter as crisp as the slaps. Later, crotch- grabbing replaces slaps as fodder for commentary and a personal fantasy section ensues where the duo re- define "hotness" for themselves. By "Bull's" end, a hope for tenderness permeates the stage.