Gigs, dance, art

September 25th, 2010: Hofesh Schechter – Political Mother

@théatre de la ville

That was my second time seeing Hofesh Schechter‘s work, but I’m already a fan. There are things I don’t like so much in what he does — the pomo attitude can get a bit overwhelming — but there are so many things I love, and I get a sense of something developing and growing, something that is rooted in the present and getting to shape a possible future of dance. Not by being something radically new, but by striking a nice balance between new and old. I don’t know what will come out of it in the long run, but I’m very keen on seeing where it ends up going.

On the pure dance side, he’s just as talented as I thought for group sections. The way subgroups emerge and melt back into other patterns was proof of an amazing mastery of one the things I like best in dance. I’m seriously impressed. I’d like him to combine that with a little more individuality from the dancers, but that may come later. For all I know it’s there already, maybe I just need more time to pick up those details. Of course it’s likely to be there in the latter sense, but what I’d love would be to see that side brought on by the choreographer, intentionally, not just by his accepting the dancers’ contributions. I hope this grows, and I hope I can see this — or something else — make its way into his language.

Again there were a few quotes from earlier works — and I’ve only seen Uprising and In Your Rooms, so it had to have been obvious — and a few sequences that went a little too far on the pomo side for me. The rock concert, political rally or empty stage parts felt a little too isolated, a little too smart. Maybe I missed what tied these into the piece though, I may have grown over-sensitive to post-modern poses.

I want to single out Lee Curran for the lighting. Amazing job, maybe even more striking than last year. The lighting was at least as much a component as the music, and was at least an extra dancer or two on its own. I think the live music was designed to grab attention, even though the few moments of silence or sudden change outlined that dance was really what it was all about. I liked that. A lot. The music was driven and definitely no wallpaper, but it knew its place as support. Not that that means it has to be boring, but it shouldn’t become a distraction either.

Here’s hoping Hofesh Schechter will become a regular in this venue, because I’m so hooked by now. The most addictive thing in his work is that I get the sense the best is yet to come. He seems very — maybe overly — aware of what he’s building, but the good side is that he seems to be building something anyway, and that would be a great sign on its own. Coming from someone who clearly have been fed the pomo kool-aid, it’s even more promising.


September 30, 2010 - Posted by | Dance | ,

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