|
|
|
Thirteen Anniversaries
By Lisa Jo Sagolla
For the first time ever, the Leonard Bernstein estate allowed a dance piece to be set to the composer's ''Anniversaries,'' a group of 29 brief piano works each composed as a ''gift'' to someone of importance in Bernstein's life. Choreographer Richard Daniels selected 13 of the short Bernstein compositions, re-dedicated them to influential people in his own life, and evolved a sequence of dance movements to go with each one of them. The premiere of the choreographic work, titled ''Thirteen Anniversaries,'' formed the centerpiece of Daniels's affecting dance concert presented at The Flea Theater.
Though the making of ''Thirteen Anniversaries'' was undoubtedly a stimulating creative experience for Daniels, in viewing it one saw an interestingly crafted suite that clearly contained more meaning than it revealed. While program notes indicate that some of the sections are dedicated to familiar figures in contemporary dance—and the choreography suggests their various movement approaches—in other instances the names of the people who inspired the dancing were unfamiliar, so we couldn't fully measure Daniels's expressions of their impact upon him. Had Daniels not been bound by the brevity of each of the musical compositions, perhaps he could have more substantially communicated his ideas. Nevertheless, Daniels is such a strikingly focused dancer who moves with remarkable sensitivity to the impulses of the music (here played live by pianist Steven L. Cantor) that his journey through this precious choreography proved riveting.
The HIV-positive Daniels, who is known for his commitment to dance as an element of his wellness program, also gave a heartrending performance of Christopher Gillis's solo, ''Landscape.'' Daniels danced alongside a dead tree branch, his hands reflecting its gnarled shapes, and his body its brittleness.
The premiere of Daniels's seemingly autobiographical solo, ''Uncharted,'' danced with exquisite vulnerability by Keith Sabado, completed the touching evening. The piece illustrates the challenge of taking the first step, which leads to gratifying movements, yet ultimately exhausts the dancer. Sabado collapses, but then discovers he can rise again. When he turns his face to us and flashes a sly grin, we warm to the realization that Daniels, through dancing, has recaptured his vitality.
|
