Review: GIBNEY COMPANY BURNS BRIGHT AT THE JOYCE THEATER
Don’t miss out: The company is performing now through April 12th!
The art of dance is beautiful and special for many reasons. We could spend countless hours waxing poetic; listing them out, line by line. (Oh, let me count the ways). But my favorite reason is because dance exists within a dichotomy: Dance technique is rooted, grounded even, in history and pedagogy that’s been passed down through the generations. Yet, what keeps this art form exciting is the innovation and spontaneity; the “what happens next?” which is the secret sauce that makes audiences always coming back for more.
The Joyce Theater was pulsing with this very excitement on Wednesday night as Gibney Company took center stage to unveil four contemporary works. Crafted by some of the world’s most legendary choreographers, the evening shone a light on the importance of global exchange through movement, and the everlasting power of human connection—through what we know to be true, and what newness we discover, each and every day.
Up first was Silent Tides, a company premiere brilliantly choreographed by Medhi Waterski. As the curtain rose, a piercing neon light rod created interesting planes and shadows on dancer Madison Goodman, who used that dimension to carve through the space with intention and precision. A dancer with exquisite lines and spatial awareness, Goodman was instantly captivating, and moved with confidence. As the light rod changed position and intensity, Goodman was joined by fellow dancer, Zack Sommer, a brilliant technician with unbelievable control. As the pair moved together—and then apart—and then together again, they invited the audience into an intimate “conversation”, punctuated with moments of breath, sustained extensions, and partner work that kept the eyes always moving, always observing. It was a subdued piece, yet one that made you keep craning forward to see just a little bit more.
On Contemplation of Wailing followed, a world premiered choreographed by the groundbreaking Jawole Willa Jo Zollar. This piece struck like a raw nerve; electric, shocking, and even painful, but oh so magnificent with its emphasis on the group dynamic. The dancers buzzed as one living, breathing organism, wrapping up the stage and themselves in continuous movement. It felt like waves crashing onto a shore, punctuated with deep bends, fluid lifts, and conical spirals and turns. But what I found most exciting was the connection of this group dynamic—this flow—with the earthy, round tones of the original composition created by Jordyn Davis. You could sense the pain and longing in the score, which blended with the percussive elements inspired by both classical and jazz influences. It’s a piece I won’t soon forget.
The third work of the evening was Canto Ostinato, choreographed by dance legend Lucinda Childs. As a long admirer of Childs’ works, I was excited to see this piece, and my expectations were more than met. Marked by constant repetition; the weaving of simple walking patterns, low jumps and elevations all together, Childs is a master of detail, spotlighting the brilliance of the dancers through a simple construct of “order” that creates new and exciting shapes with each beat of music or swipe of light. It was methodical, peaceful, and joyful. I could watch it over and over again.
But the final piece of the evening left the audience positively spellbound. Vukani, choreographed by Mthuthuzeli November, is rooted in traditional Xhosa dance, which is often characterized by sharp, percussive gestures (foot stamping, body vibrations, etc.) that blends a variety of different dance forms to create an innate sense of rhythm. The dancers moved through the space with stacatto, piercing power, taking big swings and rooting into the earth with great pride. It felt equal parts celebratory and melancholy, and left me feeling continously excited for the next show I'll inevitably see.
Don't miss your chance to see Gibney Company at the Joyce!
Photo Credit: Julieta Cervantes
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