InfiniteBody: the Netherlands

Showing posts with label the Netherlands. Show all posts

Saturday, September 15, 2018

Meet Gabri Christa's "Magdalena" at Theaterlab

Gabri Christa in her new multimedia solo, Magdalena
(photo: Kevin Yatarola)

Having spent the early afternoon at 92Y Harkness visiting Pino-Latino's intersection of Asian and Latinx cultures, I headed to Midtown West for Gabri Christa's multimedia solo, Magdalena. I found the Curaçao-born dance artist/filmmaker greeting people arriving at Orietta Crispino's tiny studio at Theaterlab, carefully guarding a square of white performance space surrounded on three sides by a string of light bulbs from heedless, bull-in-china-shop audience members.

Towards the rear of the demarcated space, a baby doll of fragile, chocolate-brown porcelain sat atop an ancient valise. At the start of her hour-long performance, Christa, a woman of mixed races and cultures, began her storytelling by pointing to the Black doll and relaying its history. (How did this toy, so rare in the Europe of her Dutch mother Magdalena's youth, come into her family? From an auntie who'd gotten it as a present from her Black, and married, lover.) As in the best stories, that single point and gaze would steadily open up many vibrant channels of memory, history, questions, feelings. We would be introduced to a family, to a war, to Catholic schooling, to interracial love, to the Black Caribbean, to adventurous vitality and, finally, to aging and dementia. For this is a story moving towards her mother's state of forgetting, and it is an act of loving discovery, recall and reclamation.

A gifted storyteller, Christa employs many supportive tools--among them, a treasure trove of archival visual imagery, some of it from personal family materials. But none of that would matter if the interconnected tales themselves--as in Bennyroyce Royon's new piece for Ballet Hispánico--did not rest on a foundation of humanity.

Conception, writing and performance: Gabri Christa
Direction: Erwin Maas
Design and Dramaturgy: Guy de Lancey
Radio play performed by Wayne Miller and the Spotlight Theater
Music: Izaline Callister and Vernon Reid

Magdalena continues through Saturday, September 22, but hurry. Seating is extremely limited. For information and tickets, click here.

Theaterlab
Third Floor
357 West 36th Street (west of 8th Avenue)
(map/directions)

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Sunday, November 13, 2016

Four minutes are plenty: NDT at The Met Breuer

Chuck Jones and Parveneh Scharafali
of Nederlands Dans Theater in Shutters Shut
(photo: © Joris-Jan Bos Photography)

My crazy dance-going life includes things like spending time and subway fare to run up to The Met Breuer on a Saturday afternoon to catch a dance performance lasting all of four minutes.

And then, on the way out, looking longingly from the elevator's open door at the Kerry James Marshall show, powerfully drawn to revisit it but knowing I had to hustle back downtown for a DraftWork showing at Danspace Project.

And then, with less time to spare than I'd hoped, having to abandon my already rerouted downtown bus when it finally could not make it past an anti-Trump demonstration streaming down Fifth Avenue. That's okay. Walking's good for me, and walking's good for our nation. Win/win.

A gallery space on Met Breuer's fifth floor hosted the clever Sol León/Paul Lightfoot duet, Shutters Shut (2003), performed by Chuck Jones and Parvaneh Scharafali of Nederlands Dans Theater. It was repeated three times on the hour, from 1pm to 3pm, before an audience seated on four forward-facing benches and floor cushions. Many people stood to see into the initially roped-off, horizontal and narrow performance area. At a few minutes to the hour, attendants unclasped the front rope, and the dancers backpedaled into their space, Jones followed by Scharafali.

Here's a snippet of the duet, inspired by Gertrude Stein's recitation of "If I Told Him: A Complete Portrait of Picasso" (1923), with its hypnotic, staccato Cubist rhythms so well captured here in physical movement.

NDT's performances of Shutters Shut were presented in conjunction with the exhibition Humor and Fantasy—The Berggruen Paul Klee Collection, on view at The Met Breuer, September 1, 2016–January 2, 2017. For information on the exhibition, click here.

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Saturday, May 10, 2014

HyperISH: Taking it from street to stage

Who's afraid?

These two words are the first uttered in HyperISH, an hour of power presented by the Amsterdam-based troupe ISH at The New Victory Theater, now through May 18. Dancers begin by creeping out under hazy light, wobbling atop a row of drab, ungainly platforms to woozy music--the first and last time you'll believe that any of these seven rambunctious men and women have ever suffered a moment of fear.

Founded in 1999 by Marco Gerris, ISH draws from diverse sources--hip hop, club dancing, acrobatics, ballet, Kathak, capoeira and other martial arts. A choreographic collision for sure, but you'll be happy to know that it works, thanks to Gerris's imagination and the outlandish talent and charisma of dancers like Micka Karlsson, Shailesh Bahoran and especially the unbelievable Martin Barnes. What does not work so well is Gerris's well-intentioned concept, a mess of dramaturgidity obviously aimed at young audiences.

When it is not just about fantastic dancing, HyperISH is sort of about alienation, about finding one's True Self despite the distractions and pressures of conformist, consumerist society, about our obsession with cyber-connectedness and being liked and...Liked. And so forth. The Catcher in the Rye has been cited as an inspiration. It tries way too hard.

But let the dancing help you forget all that. Don't overthink this show. Just go and watch what happens.

HyperISH runs through May 18. For program and ticket information, click here.

New Victory Theater
209 West 42nd Street (Times Square), Manhattan
(map/directions)