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| Tony-winning tap great Savion Glover has a new show at The Joyce Theater. |
LADY 5
@
SAVION GLoVER's
BARoQUE'BLAK
TaP Café
by Savion Glover
at The Joyce Theater
July 2-7, 2019
The letters flip up and down--kind of like hoofers' heels and toes--in the titles tap icon Savion Glover gives things. The off-kilter rhythm of the letters jingles and jangles...and jars. Skim across a program page, and your eyes might get snagged on a particular letter or the oddly-true sound a whimsical word makes inside your head. What, exactly, is Half-Our or I Can Here Myself? Tell me there's no part of you smiling at this thought: "Well, I kinda know what that might mean!"
As noted above, the title of Glover's new ensemble production--running now through Sunday at The Joyce Theater--is rendered in his program notes precisely this way:
LADY 5
@
SAVION GLoVER's
BARoQUE'BLAK
TaP Café
I count almost twenty sections in the 90-minute show, including one where a male tap shoe foot puppet (yes, you read that right) chats up a female footless-tight foot puppet (yes...) at a café table, and another binary-boosting segment (What Kind of MaNz) where aggressive male tap dancers seem to be all but literally humping their slithering female jazz dancing partners. I need to scold Glover for engaging superb dancers like Natrea Blake, Samantha Berger, Monique Smith and Megan Gessner (the last introduced by Glover as "our token white person") in cheesy moments like this. A finale set to Stevie Wonder's "Another Star" ends up slaughtering poor Stevie under Glover, Marshall Davis Jr. and Darrell Grand Moultrie's jet-propelled and amplified drilling. Maybe a single dancer--or these three without amplification--would have been kinder to the singer and his gorgeous song.
As noted before, with LADY 5 one must push aside any longing for the conventional. Glover takes you on a journey that, for reasons not exactly or convincingly clear, opens with a display of antique costumes arranged along a metal walkway above a café-like setting. Along the way, you'll see Smith dancing to spoken word (the brilliant Jae Nichelle on recording) about what it's like to live with anxiety; various and sundry face-offs between ballet and tap or ballet and jazz; and surrealistic vignettes with Glover apparently haunted, obsessed and traumatized by a ballerina's disembodied tutu descending from above. A dancer might be doing her thing downstage while a shadowy figure creeps along the high walkway in the background. The Dalai Lama makes an appearance. (Just dropping that here. Don't fret about it.) There was an impressive, spiky contemporary solo (PHuQSPaCE) performed by Gessner to the stylings of Bjork, and there is the lovely warmth of Blake's solo work in Everything Must Change.
So...a lot. And, although I am far from the kind of critic who needs the conventional, I must say I was grateful for a segment with fabulous, straight-up tap dance to Latin jazz that met percussion with percussion, fire with fire, spotlighting virtuosity in a way nothing else in the show really touched.
A show with turbo-charged ambitions and oddities, and not everything works. But, hey...Savion Glover at The Joyce. It took several years for that to happen again.
LADY 5 @ SAVION GLoVER's BARoQUE'BLAK TaP Café continues through this Sunday with matinee and evening performances. For schedule and ticket information, click here.
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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.
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