In the alley to the left just after you pass Arsenale’s ticket gate, look for the door under the lit neon sign. Enter and experience UNTITLED (HOLDING HORIZON), the performance work by Alex Baczynski-Jenkins.
“UNTITLED (HOLDING HORIZON) draws on the box step, a basic movement used in several social dances, to explore collectivity, subjectivity, queer embodiment and desire. Synchronized movements co-exist with moments of slippage and letting go, each performer embodying individual and shared gestures and affections. The performers both affect, and become affected by, the live sound and light mixing. In this altered state, the box step becomes a container for the relational force that resides in moving with others.”*
Jacob Jonas The Company will close out its triumphant 2018–2019 season as the Wallis Company-in-Residence with two performances this weekend.
Daniel Ezralow will join company founder Jacob Jonas to dance in the world premiere of their new work viceversa. The evenings will end with a second world premiere: THERE’S BEEN A STUDY, choreographed by Jonas to an original score by vocalist and pianist Nicole Miglis—lead singer of Hundred Waters—which she will perform live.
Also on the bill: TO THE DOLLAR, Jonas‘ dance interpretation of Senator Elizabeth Warren‘s 2016 speech on income inequality:
“Today is Equal Pay Day. By the sound of it, one would think it is some sort of historic holiday commemorating the anniversary of a landmark day that our country guaranteed equal pay for women, but that is not what it is about—not even close. Because in the year 2016, at a time when we have self-driving cars and computers that fit on our wrists, women still make only 79 cents for every $1 a man makes, and we are still standing in the U.S. Congress debating whether a woman should get fired for asking what the guy down the hall makes for doing exactly the same job…
“Equal Pay Day isn’t a national day of celebration. It is a national day of embarrassment.”
Jacob Jonas The Company in performance at the Wallis Annenberg Center for the Performing Arts, May 10, 2019, from top: Daniel Ezralow and Jacob Jonas, viceversa, Ezralow (left) and Jonas; Jacob Jonas, Crash, Jill Wilson and Nicolas Walton; Crash (from left), Lorrin Brubaker, Emma Rosenzweig-Bock, Danielle Coleman, Joy Isabella Brown, Wilson, Walton, and Mike Tyus; Jacob Jonas,To theDollar, Brown (left) and Walton; To the Dollar, Rosenzweig-Bock (left) and Brubaker; Jacob Jonas, There’s Been a Study, Rosenzweig-Bock and Tyus; viceversa, Ezralow (left) and Jonas. Photographs by Matthew Brush.
Starting tomorrow and continuing every Thursday night in May, the Ate9 dance company begins a residency at the Highland Park creative space The Ruby Street, with a closing night post-performance party on May 30.
Local audiences remember performances by Danielle Agami‘s acclaimed troupe at Royce Hall and TheWallis, and the 1 TO 3 engagement provides a rare opportunity to see the company in an intimate setting.
Ate9 dancers, from top: Jordan Lovestrand; cast; Alexander Quetell and Ariana Daub; Sarah Butler; Montay Romero (top) and Lovestrand; Jobel Medina; Rebecah Goldstone (left) and Butler; cast. Photography by Cheryl Mann Productions.
“The beauty of dance… is that it gets passed from one body, one soul, to another. There’s something so beautiful, so precious about that. It comes out of the body, it goes into the air, and then it disappears.” — Stephen Petronio
In the afterglow of the Merce Cunningham—Night of 100 Solos events, the immersive new documentary IF THE DANCER DANCES tells a different Cunningham story: the 2015 restaging of the choreographer’s RainForest by the Stephen Petronio Company.
The sexual quality and hint of narrative in this 1968 dance—with music by David Tudor, costumes by Jasper Johns, and décor by Andy Warhol (the silver, helium-filled pillows)—create an atmosphere distinct from almost every other Cunningham work. The challenge for the stagers—and Cunningham company veterans—Andrea Weber, Meg Harper, and Rashaun Mitchell is replacing the continuous-movement ethos of the Petronio dancers with Cunningham’s non-momentum aesthetic. As the film demonstrates, how to do this is perhaps a subject of dispute:
“The focus needs to be exactly on what you’re doing, and not on an image of anything.” — MegHarper
“RainForest… transcended pure movement… [The dancers] need to hear images that might help them.” — Gus Solomons, Jr., Cunningham company veteran
IF THE DANCER DANCES—directed by Lise Friedman and Maia Wechsler—mixes extensive performance and interview footage of Petronio’s dancers and their teachers with scenes of Cunningham rehearsals from the 1960s. This essential document of modern dance making and Cunningham’s philosophy and practice is playing around town through May 9.