J.
Cohen
"Episodes"
of Isadora Duncan, according to On June 2, 2024, Moving Visions Inc. presented "Episodes" at the Gibney Center in lower Manhattan. Dances choreographed by Isadora Duncan, Loretta Thomas, Catherine Gallant and a number of their respective company's members provided an evening that held numerous rewards despite too many pieces with repetitive themes and an over abundance of dreary earth toned costumes.
Any opportunity to experience the work of the contemporary modern dance pioneer Duncan, performed with great care and precision, is noteworthy, especially when performed by Thomas and Gallant, two keepers of the keys. The work they are doing by passing on Duncan's technique and style is invaluable and while the younger dancers in the company perform the choreography faithfully: arms generously extending forward to expose one's palms, one's self, develope's and balance's punctuated by leaps in sheaths, they have yet to fully embrace the audacity of what these movements, simple by today's standards, meant at the time they were created. A seriousness of purpose and an honoring of the work of the creator was evident. The thrilling embrace of shock and abandon however was lacking.
Opening with Loretta Thomas's "Holier Than Thou," a lovely piece of memory and regret, it quickly and deservedly made clear Thomas's senior standing in the company. Her simple movements of reaching and retreating, resting her head on a bench, had the unforced emotion and authenticity that the play-acting by the younger dancers lacked.
Duncan's "Ballspiel" with music by Schubert had Corrine Shearer leaning in generously with her upper body and elongating her long limbs, sometimes appearing to defy gravity. But Duncan's choreography requires as much acting ability as it does dance and it felt like Shearer had lost her emotional center by the end.
Another Duncan creation, "Harp Etude," music by Chopin, was a solo performed by Thomas. It was here that the connection between dancer, choreographer, and composer was fully realized.
Act 2 gave us "N'rkod Od" a promising solo choreographed and danced by company member Abra Cohen. Based on her Jewish faith, it would have benefitted from Cohen literally opening her eyes and looking out more. Her downward glance caused the piece to lose any tension she might've hoped to create. "Nocturne" by Duncan, music by Chopin, closed
the program. Emotionally charged and beautifully inhabited by Thomas
and Gallant it once again showed that in our age obsessed culture
nothing beats two mature artists in marvelous form fully comprehending
what's in front of them and sharing it with us. [J. Cohen] |
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