A brief intermission tabs1/22/2024 The longer the blurb, the faster it is read, much like the fine print orators of drug or contest advertisements. Each piece in Short Form is introduced by a brief narration, typically in a fleeting, humorous and self-deprecating fashion. One really can sit back, relax and enjoy the show – the performers do the work for you. But Big Dance is perhaps best enjoyed sans program. The third work, Resplendent Shimmering Topaz Waterfall is described as being “Based on page 79 of ‘Costume En Face’ notebook notations of work by Tatsumi Hijikata transcribed by his disciples, published by Ugly Duckling Presse.” Samuel Pepys and Mark Twain also get program mentions. One of Big Dance Theater’s saving graces is that the show is not nearly as pretentious as the program makes it sound. Later he dons a white tutu, making his jumps feel all the loftier. The frequent and precise hand gestures – which suggest framework, show and tell and a desire for presentation – exhibit Mattocks as diligently showing us all of his dance moves. There is a slight OCD mania about this brief piece. The most enticing move was his waddling moonwalk, a sideways slither that highlighted a pair of tight buttocks in white pants, as if he was shimmying with his rear end. She is at her most gleeful when the heavy metal is ascendant, romping around like a child left alone in the playroom, all giddy catharsis to what many people still consider Lucifer’s music.Īlthough the copy describes Short Ride Out (3) as being inspired by Stravinsky’s Concerto for Two Pianos, II, Blow’s score, created in collaboration with Eben Hoffer, grooves like post-Kraftwerk band Neu! Dancer Aaron Mattocks performs a taut, coiled, propulsive work of skipping, slides and jumps. The music, a sound collage by Tei Blow, incorporates crashing death and doom metal, spurring Canale to at turns cry and laugh. Tymberly Canale wears a hodgepodge of knitted garments and an electric log fire holds court onstage. Summer Forever, while not a tragic piece, is a strange form of sunny. The wit and wonder of these new shorts shows dance theater, in the hands of BDT, as a form with seemingly unending potential, without a dead end in sight. Brevity plays a large part in the success of this program: nothing is long enough to get tedious. Each work exhibits the vitality and ingenuity of Artistic Director Annie-B Parson’s choreography and the imaginative heights reached in collaboration with co-director Paul Lazar ( Intermission, Goats). Since 1991, Big Dance Theater has played with, you guessed it, dance and theater in the vein of Bausch-ian tanztheater but, at least in this anniversary program, there is less pain than Bausch and more play, a welcome whimsy and punch. Big Dance Theater’s anniversary show is programmed with the canny sensibilities of a master chef, transporting one’s taste buds across the gamut of flavors and textures but never forgetting the tart tickle.īig Dance: Short Form features five short, disparate works – all New York premieres this season – seamlessly staged together at the minimalist concrete venue The Kitchen. (Click image for larger version)īig Dance: Short Form bill: Summer Forever, Short Ride Out (3): He Rides Out, Resplendent Shimmering Topaz Waterfall, The Art of Dancing, Intermission, GoatsĮvery once in a while, an audience exits a theatre feeling deeply alive. Aaron Mattocks in Short Ride Out (3): He Rides Out.
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