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Posts Tagged ‘Milon Henry Levine’

September 24th, 2014 “The Return of the Duke.”

Wednesday, September 24th, 2014

Sept 24 best 14 525

This is the first Pilgrim of the 2014-15 season…We refer to the first Pilgrim cell made and put online on march 29, 2000, in Shandoka, Colorado by Lyon Smith And Cal Rhodes….and I can assure you, that Rico was very near by.  The First Cell involved Duke, infrared lighting, bats..and the words “Bad Craziness.”

February 28-March 5, 2013 “Graham Slam”

Friday, February 22nd, 2013

The theme of the current season of the Martha Graham Dance Company is “Myth and Transformation” — how choreographers use old stories to make contemporary statements. The use of myth can be a powerful method for tapping into the timeless, but the transformations can also say more about the period when they were made than about the period in which they were set.

On Wednesday at the Joyce Theater the first of three programs in a two-week season opened with Graham’s “Phaedra,” from 1962. In her introductory remarks, Janet Eilber, the company’s artistic director, recalled how members of Congress denounced the dance’s lewdness, and she set it in the context of miniskirts and free love.

As usual, the politicians were upset for the wrong reasons. In the Greek myth that “Phaedra” recounts, Aphrodite causes the queen to lust after her own stepson, with fatal consequences. By today’s standards, the choreography is far from explicit about that lust, though it is clear enough. In the final image, a leering Aphrodite spreads her legs as far apart as they can go.

The trouble is that Aphrodite doesn’t do much except leer. Whether in response to the 1960s or to more internal forces, “Phaedra” represents a coarsening of Graham’s art. As Phaedra’s husband, Theseus, Tadej Brdnik manages to slap his thighs with dignity, but it’s not Blakeley White-McGuire’s fault that her Phaedra is no more than a victim.

When she thrusts a knife toward her crotch, it’s hardly an endorsement of the sexual revolution. A stylized vision of Phaedra’s mother copulating with a bull presents female sexuality as a curse. This isn’t “Sex and the Single Girl” (published the same year). It’s an aging artist (Graham was pushing 70) applying her sure storytelling skills to rage at involuntary desire.

The rage of Achilles is the driving force of “The Iliad,” but the Achilles in Richard Move’s “The Show (Achilles Heels)” isn’t so much angry as vain, sealed off in his beauty. He gazes into his hand as if it were a mirror. The heels he wears are high, gold and sparkly.

The work, made for the White Oak Dance Project in 2002 and paired with “Phaedra” as a more recent example of myth transformation, is certainly of its time in the games it plays. Achilles appears on a “reality game show.” The dancers lip-sync dialogue from Hollywood Golden-era films of the story, mocking clunky exposition while making use of it.

Is the cheapening an indictment of the present or an indulgence? Should the sniggering at dramatic old voices extend to Graham, whose technique Mr. Move borrows for Helen of Troy (majestically embodied by Katherine Crockett)? Mr. Move’s dance won’t decide, though its magpie style achieves moments of poetry. It’s best at expressing the tenderness between Achilles and his lover, Patroclus.

Achilles speaks in the recorded voice of Mikhail Baryshnikov, who originated the role. That’s a dance hero’s armor to wear, but Lloyd Mayor, an apprentice with the company when Mr. Move chose him, has everything that the role requires, except celebrity: a beautiful face, sculptural technique. One thing Mr. Move knows for sure is how to pick ’em.

Martha Graham Dance Company performs through March 3 at the Joyce Theater, 175 Eighth Avenue, at 19th Street, Chelsea; (212) 242-0800, joyce.org.

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April 25, 2012

Sunday, April 15th, 2012

November 29, 2001

Monday, January 17th, 2011

November 12, 2001

Monday, December 20th, 2010
Nijinsky dans l'Après-midi d'un faune (Ballets...
Image by dalbera via Flickr

The costumes Olivia and Cal are wearing are handpainted and based on Vaslav Najinsky and Serge Dhigliav’s 1909  Apres Midi of the Faun for the Ballet Russe in Paris 1909. Nureyev showed great courage in recreating this dance in 1980. It’s be really great if someone can do it again.

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November 10, 2001

Saturday, December 18th, 2010

This is sort of standard imitation of Doonebury….using off camera dialog to  imply that the president and vice president are speaking. Of course this series plays  on the clinton  Intern problem from the previous administration

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November 7, 2001

Saturday, December 18th, 2010

November 5, 2001

Saturday, December 18th, 2010