Evidence and the United Colors of Armitage

Every year, dance events at Lincoln Center Out of Doors bridge the gap between dance artists and New Yorkers who aren't necessarily dance aficionados but who like that certain sexy combination of summer + free + outdoor + entertainment. It's one of the perks of having the endurance to stay in (or visit) New York during the heat stroke season, and this year's lineup shimmers with great opportunities. You can catch up with Fraulein Maria, Doug Elkins's deliciously bite-sized and lovingly-wacky version of The Sound of Music (August 16). And, if you were elsewhere last night, perhaps devastated by John Edwards's revelation, you could instead have witnessed a West African musical phenom--electronica band Burkina Electric, fronted by the dynamic, Angelique Kidjo-reminiscent Maï Lingani--that features some pretty hot dancing of their own.

I haven't yet mentioned Armitage Gone! Dance, with its own stellar and fierce performers, who collaborated with Burkina Electric on Karole Armitage's Summer of Love, previewed last evening at LC's Damrosch Park. This dancemaker is on a natural high, having recently made her Broadway choreography debut with Passing Strange and choreographed the Public Theater's critically-acclaimed revival of Hair. Teaming up with the Burkina Faso troupe is a very smart move. Not only do Lingani and her comrades provide irresistible beats, they also provide the glue that Armitage's loosey-goosey hour requires. Not enough though. In bits and pieces, Summer of Love can be fun--with its aura of a kind of upscale, deliberately multiculti '60s dance party--but its patched-together, song-related sections don't congeal and keep teasing us with potential endings that aren't. It feels shallow and as self-indulgent as neo-cons accuse the '60s counterculture of being. Despite the dancers' technical perfection and their obvious sense of play, AGD in Summer of Love comes off like the United Colors of Armitage. On the other hand, Burkina Electric is the real deal, and I'm glad to have made their acquaintance.

As for Evidence, A Dance Company, second on the Damrosch bill, Ronald K. Brown's troupe lit up the stage just as we knew it would. Brown presented a couple of works from repertory: Upside Down (excerpted from Destiny, a 1998 collaboration with Jeune Ballet d'Afrique Noire) and High Life (2002). Upside Down? Call the FDNY! These people are on fire! Top marks to Shani Nwando Ikerioha Collins and Tiffany Quinn, dancers who go from strength to strength. But it was especially wonderful to see Brown himself dancing with renewed vigor, openness and acuity--evidence of what inspires all his dancers to give their all.