Review: Juilliard's Dance Division Delivers a Professional Performance from the Classes of 2016-2019

December 12, 2015-7:30pm

Peter Jay Sharp Theater-Lincoln Center

The Juilliard School-New Dances: Edition 2015

Photo Credit of Both Images: Rosalie O'Connor

Top Picture: Zvi Gotheiner's Vivo Rota

Bottom Picture: a moment from Kyle Abraham's non sequitur paramour

This evening's performances represented the talents of the various graduating classes of the 2019, 2018, 2017, and 2016 dance division students. The mahogany colored Peter Jay Sharpe Theatre was filled with friends, family, and many supporters of dance education. Juilliard's students were the ushers and greeters. Prior to entering the theater, two dancers of the school were fundraising. I had a wonderful conversation with them about their curriculum and their plans after graduation. Both young ladies seemed ready and eager to leap into their upcoming dance careers. Their bubbliness prepared me to view what they would bring tonight.

Class of 2019

The World Premiere of Strange Garden, choreographed by Helen Simoneau, original score by Jerome Begin (Music Advisor of the Juilliard Dance Division), revealed the dancers in contortion-like floor poses, but with a modern twist. Mr. Begin's vocoder and live electronic processing instrumentals awoke their bodies from their collective trance. Ms. Simoneau's style seemed to stem from what could live in a strange garden. Praying mantis and centipede movements were a foundation throughout their detailed combination of modern and classical steps. Within each of the sections of the dance, they would maneuver back into floor modern-contortion stances, which resembled scenery that focused one's eye on the dancers who were in motion. The clean technique of the students might have been one of the compelling reasons as to why these dancers were admitted to the Juilliard program. An on-the-cusp eerie, haunting, and supernatural first piece.

Class of 2018

Return to Patience opened with all the students standing feet parallel toward the audience. The stage lights slowly illuminated them, which in turn gave the effect of being stationary. Yet, in reality, they were swaying so subtly that I thought my eyes were playing tricks on me. A very clever hook. The costumes and opening choreography were reminiscent of the sunrise on the beach in the film City of Angels. Unfortunately, halfway through the piece, I was still waiting for Ms. Aszure Barton's choreography to show off these dancers' abilities, which didn't seem to appear. Although the steps were performed with great intricacy, the ethereal first-impression of this section clashed with Chopin's Mazurka in A Minor, Op. 17, No. 4. The music was what kept me interested until their bows.

Class of 2017

Zvi Gotheiner, choreographer of Vivo Rota, utilized not only these dancer's capabilities, yet also gave them the artistic license to emote dramatic and fun-loving facial expressions throughout this piece. Mr. Gotheiner positioned the dancers in different groups with different choreography that came off distracting to this viewer. I enjoy variety, but utilizing this formulation of patterns does not always come through as anticipated. This occurred at regular intervals, and I was relieved when the modern pas de deux began. My eyes weren't thwarted any longer, but heavily engaged with the passion and partnership of the featured couple. From Parisian, Argentine, and a touch of traditional circus music, the Class of 2017 dancers seemed to evoke pedestrians strolling the boulevard, barefoot tango dancers, and quirky keystone cops-the combo of movements and its music were its driving force.

Class of 2016

The edgy and very hip final piece, Non Sequitur Paramour, choreographed by Kyle Abraham in collaboration with the Class of 2016 dancers, was in-step with today's version of dance trends. What I enjoyed most was that Mr. Abraham trusted the students to be part of their own creation-not just following the steps given to them. Some of my favorite moves were the 180-degree penché and body rolls that transitioned into quick petit allegros. The floor lighting highlighted the eclectic music. It was a mixture of voice, breathe, and an instrumental beat-box-a perfect choice. The blacked-out upstage area gave an element of surprise as the next sections began-very dynamic. I could have watched this for another twenty minutes if the choreography was extended. In this reviewer's opinion, young people who have never seen any form of dance, besides music video performances, would relate to the music chosen, as well as the way this dance translated into a refined version of the currently popular dance styles-with a Juilliard touch.

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