Thursday January 27, 2011 – Great dancing from Parsons Dance at The Joyce tonight, performing five works by David Parsons and a new piece by Monica Bill Barnes. Kokyat and I recently got to watch the Company rehearsing and thus became familiar with some of the newer faces in the troupe. An enthusiastic audience saluted the dancers with applause and cheers at the end of a well-paced programme. The Company are at The Joyce thru February 6th; read about specially discounted tickets here. Top image: Abby Silva Gavezzoli, Eric Bourne and Sarah Braverman photographed by Paula Lobo.
The evening began with BACHIANA, a work which I saw at its first public showing (even before its official premiere) at Jacob’s Pillow on August 29, 1992. I knew even then it would become a Parsons classic and it looks great nowadays with it’s vivid dark red costuming and excellent lighting. This piece is a great programme-opener for it immediately serves notice both of the choreographer’s freedom-of- movement style and the joy therein of the Parsons dancers. One fanciful motif is the men head-standing for quite a long time. For all its fast-paced, celebratory dancing, an outstanding highlight of the piece is the adagio duet danced by Abby Silva Gavezzoli and Miguel Quinones in which they slowly make their way across the stage together in expressive partnering combinations to the strains of the Bach Air on a G-String. Photo of Eric Bourne, Steve Vaughn and Miguel Quinones in BACHIANA by B. Docktor.
Miguel Quinones, in my humble opinion one of Gotham’s most extraordinary male dancers, speaks about the new duet PORTINARI – which David Parsons has created for Miguel and the blonde beauty Sarah Braverman – here. The dancers are pictured above in a Paula Lobo photo. Kokyat’s images from a rehearsal of this duet may be found here.
The duet was inspired by the life and work of the Brazilian painter Candido Portinari, best known for his panels War and Peace at the United Nations headquarters here in New York. Portinari died in 1962 from lead poisoning induced by his constant use of lead-based paints.
For this duet, David Parsons turns to the very familiar music of Samuel Barber: the Adagio for Strings. As with his use of the Bach Air in BACHIANA, David’s choreography makes us listen to the music afresh. Miguel ‘creates’ Sarah – his Madonna and muse – with his brush. Their duet is quietly ecstatic and builds to a fantastic pose with Sarah standing on Miguel’s shoulders; from there she takes a breath-taking plunge into his arms. But the story isn’t over: the painter then descends into sickness and death, with the woman consoling him. As he expires in her arms the light fades and the dancers are drawn into shadow. The audience watched the two dancers in awed silence; Sarah and Miguel give a perfect and memorable interpretation of this duet.
In David Parsons’ 2003 work SLOW DANCE, three couples dance in a somewhat confined space to music of Kenji Bunch. This work is quite different from anything else in the Parsons repertoire…
…the dancers looked fine and reveled in some high lifts that decorate the piece. Photo: B. Doktor.
Parsons Dance rarely perform choreography by anyone other than David Parsons but this season they have added Monica Bill Barnes’ LOVE, OH LOVE to their repertoire. Despite being perfectly danced and ‘acted’ by the Parsons troupe, the work’s mildly amusing qualities are offset for me by the use of pop love-anthems that – while appropriate for the theme – are too loud and go on too long. I couldn’t wait for it to end. I know it’s meant to be ironic, but the musical overkill is too much. Irony and brevity must go go hand-in-hand to be really effective. Nevertheless: excellent work by the dancers.
In a tour de force, Miguel Quinones (Gene Schiavone photo, above) performed the imaginative and wildly popular solo CAUGHT in which a flashing strobe light makes the dancer appear to be literally dancing on air. Miguel, who danced in every single piece tonight and was still full of energy in the final NASCIMENTO, moved miraculously thru the over-100 jumps which constitute the choreography of CAUGHT, leaving his beautiful torso bathed in sweat as he finally ‘landed’. At the end, the crowd screamed wildly for the dancer: a demonstration of awe and affection which Miguel received with modest grace.
NASCIMENTO begins and ends with Abby Silva Gavezzoli (Elena Olivio portrait above) alone onstage. Abby’s sexy and lush dancing sets the pace of this colorful work in which the Parsons dancers revel in their choreographer’s signature style: witty, spacious, affectionate and vital. The music of Milton Nascimento, the appealing Santo Loquasto costumes and the excellent lighting by Howell Binkley (all evening) conspire to make this an exciting closing number.
Now in his third decade of presenting dance, David Parsons remains at the top of his game. His newest works, PORTINARI and RUN TO YOU, seem destined to take their places among the Parsons classics that always make his New York seasons so enjoyable. And his current roster of dancers are as exciting and dynamic as any to be seen in our dancing City.
Oberon's Glade 