Jacob’s Pillow, Becket, MA
through August 12, 2018
by Josephine Sarnelli
“Art for art’s sake” speaks to the intrinsic value of art.
Many modern dance choreographers have applied the same philosophy to movement,
hence choosing to omit story lines, relationships, and emotions from their
creations. Fortunately, José Limón, although a pioneer of modern dance, did not
classify dance in these absolute terms.
 |
| Photo by Noor Eemann |
The program opened with archival footage of Limón’s 1948
solo performance of “Chaconne” on the Ted Shawn Theatre stage. As the
projection faded and Bach’s music continued, Mark Willis performed the next
portion of the dance. Seamlessly, Savannah Spratt entered for the next segment
only to have Jesse Obremski replace her for the final part. The use of three
separate soloists added to the depth of this emotional work. The simplicity of
the dancers wearing street clothes … trousers with pockets, belts, rolled up shirtsleeves
… added not only to the nostalgia but also to the relevance of the feelings to
the “common man.”
Colin Connor, the company’s current Artistic Director,
choreographed “Covidae” to the “Violin Concerto #1” by Phillip Glass. Corvids,
among the most intelligent of all birds, includes ravens and crows. Seen as
both spiritual messengers and harbingers of ill fate, these birds offer both
beauty and mystery. Six dancers took on the quality of a flock, or “conspiracy”
as ravens are sometimes collectively called, to create a dramatic
personification. In this momentous work, Connor’s “Corvidae” rivals the genius
of Limón’s iconic “The Moor’s Pavane.”
“The Moor’s Pavane” is Limón’s interpretation of
Shakespeare’s “Othello.” He skillfully used the pavane, a stately dance of the
Renaissance period, as a foundation upon which to build his storyline through
modern dance movements. Even those not familiar with the tragedy could follow
the transfer of a handkerchief from Othello to his wife to his treacherous
friend and his wife to understand its implication in the false charge of
adultery. The period costuming was exquisite, and the four performers were
outstanding in their theatrical telling through dance of the timeless sins of
racism, domestic violence, and jealousy.
Kate Weare’s “Night Light” focused on relationships through
the partnering of 12 dancers. The true athleticism of these talented performers
could be seen in some role-reversals of traditional partnering. Of note was
Jesse Obremski’s aerial lifts of both female and male partners.
The finale was Limón’s “A Choreographic Offering,” a tribute
to his mentor Doris Humphrey. As joyful as this historical work was, the
awkward hand motions of early modern dance were a distraction and reminder that
not all things old are worthy of homage.
