Two Hits and a New Miss
No doubt about it, Buglisi/Foreman Dance has the foremost modern dancers of any group performing true to the Martha Graham legacy of technique, theatricality, inventiveness and unabashed passion. Seventeen of them! The B/F hit season at the Joyce Theater, February 5 to 10, included two programs of world premieres and repertory with live music of the Cassatt String Quartet and the Catfish Corner blues band.
Former dancers of the Martha Graham Contemporary Dance Company, Jacqulyn Buglisi, Donlin Foreman, Terese Capucilli and Christine Dakin are the pillars and founders of the Buglisi/Foreman Dance company and keepers of the Graham legacy through their own contributions. They were joined by Kevin Predmore, Virginie Mecene, Stephen Pier, Miki Orihara, Rika Okamoto, Nancy Turano, Jennifer Depalo, Jennifer Emerson, Emma Stein, Walter Cinquinella, Christina Sanchez, Jennifer Binford and Helen Hansen to create one of their best seasons.
Choreographer Buglisi drew upon 9/11/01 as impetus for her premiere of "Requiem," using Faure's glorious music to support her moving and inventive use of five dancers sitting, standing or leaning on box-like pedestals robed in mounds of lush gold, green, russet and ivory drapery that transformed into capes, shrouds or flowing gowns. Buglisi, a champion of the rights of women, was inspired by Artemisia Gentileschi, an 17th century Italian painter, who won her legal independence through her brushes. Buglisi knows the value of outer stillness while inner emotions churn and rage. Although there was little physical movement, except for runs and use of the sets1 the energy of the dancers was sustained and focused on expressing survival over oppression and tragedy. Costumer A. Christina Giannini, set designer Debora Mache, and lighting designer Clifton Taylor helped create a post-medieval painting.
Buglisi's "Frida," based on the turbulent life, paintings and writings of Frida Kahlo, a bold and colorful Mexican artist, got off to an unfortunate technical start. Kahlo is a suitable follow-up to Buglisi's earlier work, "Against All Odds," based upon the life of Sarah Bernhardt. Another viewing of "Frida" would be a more fair report. Her repertory work, "Suspended Women" is still a fascinating work, despite the violin intrusion on the accompaniment, "Ravel's Piano Concerto in G." In this piece, Buglisi uses twelve women costumed in ballroom gowns from several eras as ghost-like memories of themselves. It is made more mysterious by four men in black who seem to represent distant relationships and forgotten loves.
Foreman's choreography has a lighter touch. "His Dances for Seven," in world premiere, was set to piano pieces by Georges Ivanovich Gurdjieff and Thomas de Hartmann. The work is danced as sketches infused with near East spirituality. Another side of Foreman's vision was shown in his world premiere of "Lisa D.," a light-hearted, jazzy tribute to Lisa DeSpain, whose "String Quartet No.1;" "Rise and Fall," was performed by The Cassatt String Quartet. Lisa was danced by Virginie Mecene with energy, charm and non-stop movement. In a way that's what didn't always work in the piece. We needed a quieter moment or two, a solo or pas de deux, and more reflective moments to see a deeper side to the characterization that would also provide a rest for the eye. Walter Qinquinella, Stephen Pier and Keven Predmore added to the lively performance.
Foreman's best finale is in repertory as "Mean Ole' World," using a sensational score by DeSpain and performed live by the Catfish Corner blues band. Foreman's characters fight the blues in playful, cantankerous and forgiving moods. He uses social dances, such as jitterbugging, that make one want to strut into the party. This work might well become the group's signature piece.
It's gratifying to see dreams and efforts rewarded by a season at the Joyce. May there be many more! •