December 19, 1999

Sylvia & Danny Kaye Playhouse

Embracing dance influences from such diverse sources as ballet and hip-hop, the Peridance Ensemble presented work of such variety at the Kaye Playhouse December 16-19 that it nearly boggled the mind.  Unifying these apparently disparate aspects of the program was the technical brilliance and incredible musicality typical of the Ensemble.  In addition to presenting four new works on the program on the 19^th — Way Out, Corridors, Shinkiro, and Eye of the Storm—Igal Perry also revived the Ensemble’s signature work, Bolero.  Passing Thoughts, Intimate Voices (excerpts), and Requiem (Pie Jesu) rounded out the evening. 

Mr. Perry’s new work, Eye of the Storm was an intense and particularly successful premier, though I must confess I saw more storm than eye in this piece.  Initially, the most visually striking thing is the starkness of the stage, with the painted black rafters being exposed to the audience.  The storm arrives quickly and with a vengeance, however, with powerful lightening-like lighting and thundering music.  The single dancer on stage is joined gradually by more and more dancers as the storm gains force.  In fact, Igal Perry’s use of entrances, exits, and changing of groups throughout contributes to the visual storm taking place on stage.  The dancers performed the modern-based movement magnificently to pull the audience into the heart of this frantic, desperate furor.  The intensity of the music by Michael Gordon is matched by the movement which grows out of it.  Mr. Perry’s typical musicality is revealed vividly in this, as the movement bursts forth from the music, utilizing often surprising dynamic variation.  The use of repetition at the conclusion of the piece brings the experience full circle, so that we’re not sure whether the storm has finally ended or will simply begin anew.

Likewise, the choreography in Intimate Voices is extremely sensitive to the Bach cello music being played live on stage.  In each section, the dancers portray a different “voice” or idea which emerges from themselves in movement that can be described as a blend of ballet and modern.  Again, the use of dynamics here is brilliant, as the genius of Igal Perry’s musicality is in his ability to vary the dynamics and rhythm of the movement in ways we don’t expect. While this is present throughout the piece, it is most striking in the sections entitled “Yearning,” performed by Jessica Lang, “Like an Arrow,” performed by Kathleen McNulty, and “Relentless,” performed by Bradon McDonald.  Also notable is the way Mr. Perry makes certain gestures and movements in each section reminiscent of gestures and movements we have seen before.  This contributes to the power of each gesture and serves to unify the contrasting sections. 

Igal Perry’s virtuosic musicality is again displayed in the company’s signature work, Bolero.  The music starts gently, supported by a deep, pulsating rhythm.  A single dancer begins to establish the melody in the center of the stage as the baseline is expressed through a majestic walking phrase.  As the music gradually builds, so does the number of dancers creating the visual melody.  In fact, Igal Perry’s use of groups in this piece not only mirrors the growth in the intensity of the music but also gives us a fuller sense of the varying aspects of the music.  The walking phrase introduced at the beginning is effectively repeated and developed throughout the piece, weaving in and out of the rest of the movement, lending weight and a clear contrast to the soaring melody of the music and movement.  A further development of the melody occurs as Mr. Perry adds lifts to the choreography.  This magnificent partnering then gains strength, reflecting the power which continues to build in the music.  At the crescendo, the company moves in perfect unison, demonstrating the dancers’ keen abilities to work not only as soloists but also with true sensitivity to the group.  The intensity of this peak is finally resolved as the group falls to the floor in canon, mirroring the final trumpet slur.  Throughout, the choreography is the visual representation of the music.  Yet, it is no mere attempt at imitating the music.  Rather, the regal movement further develops the ideas present in the music.  Thus, music and movement work in tandem with one another, creating an entirely satisfying artistic whole. 

In Way Out, emotional sensitivity is the key as dancers Ruthlyn Salomons and Fabrice Herrault skillfully establish and develop a clear sense of being trapped within the circle of light which appears on the stage.  The dance begins in silence, heightening for the audience the tension apparent in the movement.  This tension is not relieved, however, once the music begins and the dancers proceed rather tentatively and fearfully to form a connection with each other.  In fact, it is not until the end when Ms. Salomons escapes and takes Mr. Herrault with her that the tension resolves.  This resolution is heightened by a complete change in the lighting, thus concluding the piece.  The focus being used by each of the dancers and the sense of purpose in the movement was genuine and remarkably clear, especially on the part of Ms. Salomons.  We as audience members are with her completely in her struggles to free herself from her boundaries. 

Requiem, a duet performed by Chan Koo Paik and Fumio Kuwabara also made a significant contribution to the success of the evening’s program.  A sense of loneliness is established both by the two men beginning apart and by their pensive movement when they are away from one another.  Yet, this sense is countered by sensitive embracing and lifting during which the two develop a clear connection until they finally end united.  Chan Koo Paik’s lifting of Fumio Kuwabara is so gentle and flowing and their movement together is so smooth that they appear to be buoyed up by water.  However, this idea of being suspended in water by no means implies that the movement is muddled.  On the contrary, the choreography utilizes beautiful shapes and lean lines.  Moreover, Mr. Kuwabara’s clear emotional presence in this work, as evidenced by his facial expressions, adds to the effect of the piece, drawing the audience even further into the experiences of the dancers on stage.