BWW Reviews: Cedar Lake Farewell Performance

Cedar Lake Contemporary Ballet: Farewell Performances

By Jennifer Fried

I remember where I was when I found out that Cedar Lake was closing--and so do most members of the New York City dance scene. Reactions varied from shock, confusion, anger to the "oh, well all those dancers will get jobs in other companies, so who cares."

My mind immediately questioned the current and future state of the New York City contemporary dance scene. If Cedar Lake closed, then how could any contemporary dance company survive the American art scene: devoid of funding, with minimal government support, unstable corporate sponsorship and audiences jaded and bored enough to pull out their cell phones in the middle of a performance. Within New York City, or even America, Cedar Lake represented globalization, with choreographers, dancers, and musicians coming together to create breathtaking, innovative art that captured the beauty, confusion, and disorientation of our interconnected modern world. All of this, performed by outstanding athletic, technical performers.

Cedar Lake was one of maybe three companies in New York City, that constantly re-imagined contemporary dance in a way that was more genuine than the bravura of "So You Think You Can Dance" contemporary, or the ubiquitous sloppy sickle footed melodramatic modern swing of the downtown dance world. I entered into the evening's performance with many emotions, as did, I'm sure, most of the audience, and certainly the Cedar Lake dancers. The evening's three pieces left me speechless as I contemplated the paradox of contemporary dance: how it appears, stuns the viewer, and then disappears before you can even take it all in.

The evening opened with Jiri Kylian's Indigo Rose. The dancers' simple costumes allowed the choreography to glisten. The movement and music varied from classical ballet to swift African movement. The piece epitomizes contemporary trends: a fusion of different techniques that can only emerge in our light speed information age.

Next: Ten Duets on a Theme of Rescue, choreographed by Crystal Pite, perhaps my favorite piece that I have seen Cedar Lake perform yet. The dancers presented a variety of relationships on stage, whether female and female, the captive and the fugitive, unhealthy dependence, true compassionate romance, or utter hatred. I could find a distinct moment in my life that represented each relationship, making this one of the most relatable and cathartic pieces I have yet seen. The success of the piece rested in the theatricality of the dancers, and the imaginative lighting.

Finally, Necessity, Again, choreographed by Jo Strømgren. The piece presents all of human necessity: the need to work and complete endless amounts of bureaucratic paper work to make ends meet, but then to spontaneously indulge in a bacchanal party, or fulfill our most sensual desires.

At the close of the piece, emotions were high as artistic director Alexandra Damiani addressed the audience with well-spoken words on the humble beginnings of Cedar Lake and its ascent to its legendary status. While there was no resolution to the closing of the company, I found myself exceedingly proud to be a member of a large American audience that cares deeply about contemporary dance. Cedar Lake performed an encore farewell that seemed to be a prayer for the future and a lament of loss. I'm not sure what the future will be for American contemporary dance, but I do know that there are many great choreographers and talented dancers who need a platform to make art, and it is up to us as the audience to support these creations, even if our federal government or corporate entities may fall short.

Photo Credit: bam.org

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