Wednesday, September 16, 2015

Impressions of Louise Lecavalier


Louise Lecavalier and Frédéric Tavernini in "So Blue." Photo by Ian Douglas.

  If you've seen Louise Lecavalier dance, you wouldn't — you couldn't – forget. She burst onto the scene in the '80s, charging through Édouard Lock's sexy, thrashing choreography. Lock, artistic director of the recently shuttered La La La Human Steps, pioneered the horizontal barrel roll in which a dancer (often, and most memorably, Lecavalier) hurtled his or her body through the air in a position parallel to the floor. With her bleached hair, etched physique, and daredevil antics, Lecavalier evoked another '80s icon — Madonna. Unlike the pop star whose rough edges were sanded away, Lecavalier stayed raw, the dirt only enhancing the luster of a star whose energy couldn’t be tamed by time and space.

Not much has changed in the 16 years since she's left La La La Human Steps. The horizontal barrel roll has been seemingly abandoned, but her movement signature remains brash and feverish. Impossibly tiny at 56, she rivets during "So Blue" at New York Live Arts with a gutsy, guttural performance. Like a bullet, she shoots across the stage, always unbreakable, only braking when she smacks against something or somebody.    

The something is... 



To read the balance of my review, please visit The Dance Enthusiast. 

Monday, September 7, 2015

Preview of Carol Mendes...


Carol Mendes & Artists will be at La MaMa September 10-13, 2015. Photo by Nicolas Pirata. 

Apple.
Balloon.
Dog food.
Flower.
Game of Thrones.

This isnt a weird shopping list. These are the names of actions devised by choreographer Carol Mendes and her three dancers (Frankie Fernandes, Lauren Elise Kravitz, and Erika Wuhrer) for “VERSO,” which along with “LANOTTE,” premieres at La MaMa the second weekend in September.

Born and raised in Brazil, Mendes moved to New York five years ago to pursue her MFA at New York Universitys Tisch School of the Arts. Part of the impetus behind this relocation was to immerse herself in a supportive arts community. One overarching difference between the United States and Brazil is a lack of financial support for the arts at the individual level. Mendes says, “Brazilians are a cultured group by nature, but they dont value the arts in a monetary way.” Furthermore, Brazilian society is plagued by...

To read the balance of me preview, please visit The Dance Enthusiast.