The Joyce Theater establishes a warm, casual atmosphere for the performance of Jennifer Muller/The Works. It is the ideal size to accommodate the revelation of feelings and emotions from the performers to the audience.
The evening consisted of four pieces - two world premiers and two of Muller's past successes.
Opening was Sunlight & Shadow. The backdrop and lighting set the stage for a peaceful venue. The dancers wore shaded costumes, light and grey, a subtle play on the title. The women's frocks were gauzy and flowing while the men's pants were loose yet given structure with a heavier material and accessorized with a vest.
The four dancers started in union with one another. They were connected harmoniously yet precariously. Each dancer had unique movements which nonetheless contributed to the accord of the dance. As art mimics life, strife entered into the assemblage. The dancers disengaged, peace was disrupted, angst entered and the mood was suddenly that of disaccord. The bodies and expressions of the dancers portrayed this skillfully. The relationships, one with another, were in constant flux at this point. It was questionable as to the direction the course would take. The peacemaker painstakingly cajoled the individuals back into an assemblage. The feeling this piece evoked was fluid motion. It was lyrical and reminiscent of life and the relationships. If there is any criticism, it is that the shadow portion of the performance did not provide a sufficiently arresting contrast.
Humor was the bridge that led to the exciting world premier of Momentum. A lone performer was on-stage creating movements. In what seemed an instant, motion exploded. The brick wall at the back of the theatre was flooded with fiery orange lights, while center stage was infused with bright pink. The costumes were trendy, bright colors and pants had tabs and strips of fabric that provided further vigor and flash. The energy of the dancers was palpable and seemed to inhabit their souls. The changes in lighting accentuated the sharp, rapid steps and the larger than life, exaggerated moves of the entertainers, as did the exuberant beat of the music. This performance was the hit of the evening.
The mood changed dramatically with The Spotted Owl. The use of earth tones - browns, rusts, amethyst - subdued the mood. This social commentary is distinctive in merging dialogue within the art form of dance. The artiste who represented social conscience was particularly compelling in words and body movement. The timeliness of this piece spoke volumes. It portrayed man's - particularly Americans - negative effect on the environment. It prophesied cataclysmic events which we are now seeing i.e. the tsunami, Hurricane Katrina.
Leaves were scattered all over the stage. These symbolized both our resources and focus. Dancers collected leaves, giving one to the other, with slow, deliberate movements ending with a great number going to a select few signifying a stratified society. The resources also diminished as the show progressed, leaving some of the dancers without life. If art imitates life, this piece was successful in portraying a discomforting indictment of the way we live.
The finale of the evening was Speeds. The work was a study of music and dance, the effect that speed, sound and pace have upon action and emotions. The backdrop started with a sophisticated royal blue tone, contrasting with the dancers' pure white attire. The company changed tempo as either the music altered or as individual performers gave the command "Change!" This act was reminiscent of a science experiment, testing arousal of feeling to different paces in movement and sound. The buzzing music brought about frenzied action in the dancers and internal energy was disturbed. Languid movements evoked a calming effect. There was no plot only a theme to this which left one feeling there was something missing.
The overall evening was a success although rearrangement of the pieces might be considered. Switching Speeds with Momentum would have the audience leaving The Joyce Theatre upbeat and energized.
The creation of Island was made possible by The Works' New Choreography Fund.
The Works wishes to thank Martin Duff and Elaine Mitchell of Vidal Sassoon for their assistance on this project.
The creation of Momentum was made possible by The Works' New Choreography Fund, with generous support from The Harkness Foundation for Dance. The Works would like to thank Nick Putvinski for his support of this project.
Additional Text: Sharon Begley; Keith Bradisher; Chung Tzu; J. Ronald Engel; Al Gore; David M. Ludlum; Susan Middleton and David Littschwager; Anthony Milne; Vance Packard; Chirs Park; Andrew Revkin; Jeremy Rifkin; and Karen Wright.
The Works would like to thank Neil Mazzella, Hudson Scenic Studios, Inc. for support of this project.