Review: LIFE IN PROGRESS Reflects on Love, Loss and Time

A solitary tree, withered and skeletal, lit by a spotlight and ominous percussion. Suddenly, she appeared, crawling rapidly in a storm and fervently circling said tree over and over again. This arresting display is how Life in Progress commenced opening night at the lush New York City Center, kicking off Sylvie Guillem's final world tour after a celebrated 39-year dance career.

The first piece of a four-work night, Technê, featured the lithe, ever-elegant Guillem at her finest, challenging her to exercise her every limb (which she did with great success), thanks to the gratifying choreography of Akram Khan. Grounded by the stormy atmosphere, Ms. Guillem moved through the space like a mystical creature, internalizing the music's rapid syncopations to embody the physicality and spirituality of the tree itself. With each suspended extension (accented with perfectly-arched feet, sculpted over years of use) and the repetitious execution of angular shapes, Guillem became the wind she danced through, spiraling around the tree in a mesmerizing practice of homage; to the Earth and to the history that surrounded it. A truly breathtaking solo to behold, the final beats of the drum sent shivers down the spine.

Duo2015 followed, choreographed by the visionary William Forsythe, and served as a jarring contrast to Technê in its innate lightness-of-being. This male duet began abruptly and without consequence, setting the mood for what became a casual approach to movement. Donning loose-fitting tanks and sweatpants, Brigel Gjoka & Riley Watts served as comedic sparring partners; Gjoka tall and finely tuned into his eccentricity, Watts a more grounded technician. With only subtle, ever-disappearing music to aid the journey, the dancers' breaths kept their pace, as their movements materialized into one never-ending transition. While initially exciting and fresh, the sequence eventually fell flat as the two stopped riffing off of each other as they had, like melodious jazz, and rather, grew to exist as separates.

The second duet of the evening, Here & After, was the most imperceptible of the pieces. A female duet between Ms. Guillem and Emanuela Montanari, Russell Maliphant's choreography often felt deliberately calculated, which in this context resulted in an uncharacteristic quietness, one I didn't expect from a female partnership. I was hoping for fire and the flame certainly flickered at key moments, but ultimately, it existed as a slow burn. Michael Hulls' lighting design was excellent, painting the dancers in soft strands of light and shadow to highlight their collective grace. As the piece progressed, the content amplified with seamless assisted promenades and rotational movement; there was a palpable camaraderie that was pleasant to watch. But the overall mood was lackadaisical.

The final piece of the evening, Bye, was an artistic tour-de-force; all elements came together to create visionary magic, making it the ideal finale. As a fan of Mats Ek's work, I have an affinity for his naturalistic choreographic style, and Bye served this with an elevated balletic quality, showcasing Ms. Guillem in a most transcendent way.

Beginning with a lit digital "video" apparatus, the audience first became privy to Guillem behind said apparatus, in black and white. As she circumvented the wall and freed herself, she began a contemplative dance; one of internal reflection and musing. Eventually "letting loose" and taking off her sweater and shoes, she freed her body and mind with more frantic devices. She inhabited the movement with such ease that each leap in the air was buoyant yet simultaneously grounded. The breathtaking hyperextension of her limbs cut through the darkness with undeniable luster, conjuring up the questions: What are limitations imposed upon us? What are the limitations we impose on ourselves? At the end of the piece, an array of people appeared behind the apparatus and peered at her. She sensed this collective desire, and rejoined them, leaving the stage.

As I left the evening, the solitary image of the sculpted tree was what lingered, representing that which is so much Sylvie and the legacy that she has impressed upon on the dance world with beauty and grace, ever-evolving through time. Brava.

Photo Credit: Bill Cooper

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