Imagination.
Imagination as an antidote to destruction; imagination as a celebration
of optimism; imagination, also, as a unique programming device are
among the themes and schemes that assure an Altogether Different
2003 at The Joyce Theater, January 3 - 19.
The nine premieres created by this
year’s wildly diverse band of choreographers include an unexpected
setting for the Biblical tale of Lot (Sara Pearson/Patrik Widrig
and Company); a clash of nature and "civilization" (ZviDance);
a surprising erotic look at the relationship between Dorothy and
the Wizard (Keely Garfield Sinister Slapstick); lessons learned
from the ocean (Doug Elkins Dance Company); and a study of power
gained through loss (Donna Uchizono Company).
There is also a newly formed creative
team featuring New York City Ballet principal Peter Boal in a solo
show of works he commissioned from modern dance choreographers Molissa
Fenley, Wendy Perron and City Ballet principal Albert Evans. Add
yet another difference to this year’s festival: Composer/musician
Philip Hamilton’s newest work for which he selected as collaborators:
Ann Reinking, Andrea E. Woods, Kevin Wynn and video artist George
Larkins II.
In "I Hear Mermaids Singing," set to a mix of Hawaiian,
Tahitian and Tonga music, Doug Elkins creates an intricately designed
series of communal dances whose joyous play with speed and dynamics
suggest the ebb and flow of the ocean.
Elkins will also present "The
Look of Love," premiered in 2001 and set to music by Burt Bacharach
and Daniel Johnston. The engagement marks Doug Elkins Dance Company’s
third appearance in the Altogether Different festival.
Keely Garfield’s "Deep"
mines the choreographer’s response to the surreal horror of
9/11 and the personal and philosophic questions that erupted. How
do we make sense out of chaos? "Deep" is Garfield’s
response: A radically imaginative and witty evocation of the story
of Dorothy posed as seductress of the Wizard of Oz. The music is
by Marc Ribot. Also scheduled for Garfield’s Joyce Theater
debut are her previous hits: "Free Drinks for Ladies with "Nuts"
(2002) and "My Mother was a Four Alarm Fire" (1998).
Inspired by his kibbutz childhood,
Zvi Gotheiner’s ongoing concern for the environment is revealed
in his highly theatrical "Clearing." The dance, created
in 2001, will be paired with the New York premiere of "Condominium."
While much more "dancey" and less narrative than "Clearing,"
"Condominium" also deals with the longing for things natural.
The music for both works is by Gotheiner’s long-time collaborator
Scott Killian.
In "Butterflies from my Hand,"
a quartet set to music by Guy Yarden, Donna Uchizono explores the
nature of vulnerability, examines surrender as a source of strength,
and looks at power achieved through letting go. "Butterflies,"
a New York premiere, will share the program with Uchizono’s
2002 Bessie Award-winning "Low," whose use of the tango
as a structural metaphor for relationships, produced one of the
most unconventional sensual dances of the downtown scene. The music,
again, is by Guy Yarden.
Sara Pearson and Patrik Widrig combine dance, music and text in
"The Return of Lot’s Wife."
They relocate her confrontation with God to a 1950’s Brooklyn
kitchen, where her spiritual questions are expressed in myriad witty,
dark and earthy ways. The composer Carter Burwell will play the
commissioned score and Iranian filmmaker Kouross Esmaeli, will recite
the mystical poetry of 14th century Persian poet Sufi Hafitz.
Even as a premier ballet dancer,
Peter Boal cannot choose his own repertory; but as an independent
thinking artist, he has decided ideas about what else he wants to
do.
So he decided to do something about
it this January. The result will be on display on The Joyce stage:
Commissioned works by modern dance choreographers Wendy Perron and
Molissa Fenley—with whom he had previously worked—and
budding choreographer Albert Evans—with whom he had not yet
worked. Perron’s work is entitled "The Man and the Echo;"
Fenley’s dance is called "Waiting for rain" (sic);
and Evans’s piece is titled "One Body." All are,
of course, premieres.
Philip Hamilton, one of the hottest
composers and vocalists on the dance scene, has loved the art since
he began accompanying dance classes to pay for his music lessons.
This experience inspired "Vocalscapes: A Gathering," an
ongoing series for which he selects various artists with whom to
work. For his Joyce Theater season, he invited choreographers Ann
Reinking, Kevin Wynn and Andrea E. Woods, video artist George Larkins
II and members of Ballet Austin. The evening promises to range from
high energy to a soulful haunting journey of the spirit.
The Altogether Different series, which
began in 1986 as The Joyce Sampler, was created to present exceptionally
talented artists who are in the process of developing and expanding
their companies and audiences. To date, over 137 premieres have
been presented by 97 different dance companies led by such choreographers
as Stephen Petronio, Doug Varone, Ralph Lemon, Neil Greenberg, Shapiro
and Smith, and most recently Karole Armitage and John Jasperse.
Tickets for the individual performances
are $20, and are available at the box office, by calling 212-242-0800,
or online at www.joyce.org. The Joyce Theater is located at 175
Eighth Avenue at 19th Street.
PLEASE SEE ATTACHED FOR EXACT PROGRAMS AND SCHEDULE.
BACKGROUND MATERIAL ON THE COMPANIES AND ARTISTS IS AVAILABLE UPON
REQUEST.
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Altogether Different is sponsored
by Philip Morris Companies Inc.
Additional support for this series is provided by The Gladys Krieble
Delmas Foundation, The Andrew W. Mellon Foundation, and the New
York State Council on the Arts, a state agency, and the National
Endowment for the Arts.
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