When dances like Twyla Tharp’s “In the Upper Room” (1986), one of the greatest ballets of all time, return to the stage, there’s a weight of history behind them. Ghosts of past performances haunt the theater, never seen or seen. How did they do it in the 80’s? Was it better? What have you lost and what have you gained? Changes The challenge for viewers (or critics in particular) is to still these questions and respond to the work’s present—the present. What does it tell us now?
In the current iteration, “In the Upper Room” is share the program Played another 1982 Tharp classic, “Nine Sinatra Songs” at New York City Center. This is especially triumphantly written, albeit fragile. Dance about the effort and possibility of dance, inspired by a time when dancing together was almost impossible. ‘s production is not perfect, but it is striking in its fallibility in the struggles it exposes. That angel-artist-athlete is also human. On Wednesday night, the 13 dancers pushed themselves to the brink of exhaustion, carrying the ballet along a relentless course, one wave after another of energy.
It’s tempting to use terms like “marathon” and “test of endurance” when describing “Upper Room,” which follows Philip Glass’ nine-part score. But somehow these fall short, they suggest a dull forge ahead, even though in fact the choreography calls for softness and restraint, one of its sublime tensions. It may be from
This peace and equanimity first appears in the opening duet of the willowy Caitlin Gilliland and Stephanie Petersen, the guardian figures that make up the dance. (Tharp calls them “stompers.”) We do it with slow, swaying movements on a wide-legged stance and vine-like footwork that echoes the gentle vibrations of the music. watch. striped pajamas.
Janet Delgado and Jada Jarman’s feisty duo in ruby-red socks and pointe shoes immediately seem at home in their regal roles, like Cassandra Trenary’s sure presence and razor. Cut through the action, enhanced by razor-sharp precision. Trenary repeatedly pushed her arms outward, pushing two of her partners, Daniel Ulbricht and Julian McKay, away. At times, plunging into a penche or spinning in an arabesque, she looks like a typical ballerina, but her more distorted, non-classical moves define itself.
‘Upper Room’ would not be complete without fog — lots of fog — a constant wave of dancers appearing and disappearing from within. Sending dancers into our field of vision and enveloping them. This time, I was impressed by the image of retreat and retreat in dance, like the dominance of running in reverse, a small excursion into an unknown world.
Staying focused without knowing where you’re going: Tarp ups the ante on this task by introducing head shakes to the sneaker-clad women in the final climax section. increase. As their arms clear the space in front of them, their heads seem to say, “No, we can’t move on!” But like their indomitable fellow dancers, they carry on. At the peak of this effort and abandonment (one dancer sprinting out of the fog, barely dodging another dancer’s swipe of his foot), some even smile.
Compared to “Upper Room”‘s structural complexity, its continuous comings and goings, “Sinatra Songs” is simpler, but the dancers approach it boldly. Frank’s series of romantic duets to his Sinatra hits coalesces around the soaring “My Way,” portraying relationships on varying levels of heat: contented, flirtatious, sultry, and angry. Packed with dizzying lifts and knotted swaps for women in flowing dresses (and wigs) and men in formal suits, partners will be dazzled.
In an interview about the program, Tarp discussed her thoughts behind the show’s order. I decided to conclude with the intimacy of “Sinatra Songs,” which shows the way forward. Alas, despite the exceptional performances of Delgado and Ulbricht in particular, “Sinatra Songs” was a perfect match for each other’s strengths and the charming Jacqueline Harris and James Gilmer of Ailey Inc. felt like nostalgic embraces of the past and familiar patterns. Joy, not like hopeful progress. The future is more uncertain.
Upper Room and Nine Sinatra Songs
through Sunday at the New York City Center in Manhattan. nycitycenter.org.