HUBBARD STREET DANCE COMPANY
Other aspects of that heritage were represented by other works on the opening-night program last week–works by such modern choreographers as Twyla Tharp and Daniel Ezralow, and by the more classically oriented Margo Sappington and John McFall. Given the range of choreographic styles, Hubbard Street’s versatility cannot fail to impress.
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The company premiere of Percussion Four was the highlight of Hubbard Street’s engagement, but the company has yet to make the piece its own. Fosse’s widow–the legendary Gwen Verdon–set the work on the company in January. Although it was danced with verve by Alberto J. Arias, Josef Patrick, and newcomer Michael McGowan, the piece is so short–less than three minutes in toto–that it leaves the viewer stimulated but ultimately unsatisfied. Removed from the context of an all-dance Broadway show, it leaves us hungry for more.
The giddy footwork in Twyla Tharp’s Baker’s Dozen poses different challenges. Set to jazz piano compositions by Willie “The Lion” Smith, this is a feast of nonstop movement and coolly intricate patterns. Arms draw concentric circles in the air; solo dancers twirl incessantly. Tharp’s comedic flourishes belie the complexity of the choreography. When Christine Carrillo extends her leg in developpe, partner Patrick fondles it. Bataille and De Jesus glide through breathtaking turns, interrupted when he catches her in a mock fall. Tharp’s abrupt shifts from manic to lyrical movement illuminate the dancers’ technical virtuosity. Teasing false starts and aborted entrances from the wings make the viewer wonder what he’s missing offstage.
Art accompanying story in printed newspaper (not available in this archive): photo/Eileen Glenn.
