Interludes

VIEWPOINTS – Streaming Diary: Pam Tanowitz’s captivating FINALLY UNFINISHED, two new works from Alvin Ailey, and BalletCollective’s immersive NUTCRACKER

• By drediman
• December 24, 2020
• No Comments

I recently got the chance to take in some rather fascinating virtual dance productions. Here are my thoughts on them.

FINALLY UNFINISHED: PART 1
Pam Tanowitz Dance / The Joyce Theater

Even in the midst of a global pandemic, Pam Tanowitz continues to be a busy woman. In the past months, the much sought-after choreographer premiered high profile works for major companies such as New York City Ballet and American Ballet Theatre (i.e., striking solos for Russell Janzen and David Hallberg, respectively). As evidenced by works like her remarkable full length Four Quartets, Ms. Tanowitz has the uncanny ability to put aside mere aesthetics to, sans words, philosophically ruminate on the nature of time and space — and therefore dance. Her latest, the captivating, experimental Finally Unfinished: Part 1 (HIGHLY RECOMMENDED), which is on view here until December 26, is no exception. In essence, the 35-minute work is an austere but poetic love letter to The Joyce Theater, an invaluable venue that has for many years cultivated and hosted many a dance company, including Pam Tanowitz Dance. In a series of surreally juxtaposed and/or overlaid segments of existing choreography, the work (which starts off conventionally on The Joyce’s stage) eventually bursts through the fourth wall and takes over the the entire auditorium. Additionally, much of the costumes and music have been inspired by the distinctively-designed Chelsea venue, suggesting its lasting imprint on the choreographer’s works, and vice versa. Articulated with precision by Ms. Tanowitz’s dancers in an empty theater, the avant-garde Finally Finished ultimately comes across as both ghostly and hopeful, which seems just about right for the times.

A JAM SESSION SESSION FOR TROUBLING TIMES & TESTAMENT
Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater is one of the few dance companies attempting some semblance of a fall/winter season online. In addition to the commemorative Revelations Reimagined (you can read my thoughts on it here), the proud company has also included a pair of notable new works in its virtual season. The first is Jamar Roberts’ A Jam Session for Troubling Times (RECOMMENDED), an explosive choreographic release calibrated to these times of woe. It’s also a celebration of the centennial of the birth of one of jazz’s legends, Charlie Parker (the work is set to his music). One of Alvin Ailey’s most in-demand dance-makers, Mr. Roberts has created a work that exudes both urgency and joy. The dance was filmed by Peter Walker and Emily Kikta, who as City Ballet dancers, have a good understanding velocity and rhythm. Indeed, their dynamic capture effectively heightens the excitement of Mr. Jamar’s restless, coiled choreography (characteristics shared by Jerome Robbins’ iconic work for West Side Story). The second new ballet, Testament (SOMEWHAT RECOMMENDED), is a much more somber piece. The product of three choreographers – Matthew Rushing, Clifton Brown and Yusha-Marie Sorzano – it’s a shamelessly overt, unfortunately heavy-handed homage to Revelations. Although Testament is well-intentioned and artfully filmed/danced, I found its choreographic journey from pain and suffering to redemption to be a clichéd knockoff of the landmark dance it was inspired by.

THE NUTCRACKER AT WETHERSFIELD
BalletCollective / Wethersfield Estate & Gardens

Kudos to Troy Schumacher for having the vision and the organizational know-how (especially in these difficult times) to muster the troops to present what many of us have secretly pined for – an immersive staging of The Nutcracker (RECOMMENDED). Indeed, for most fans of the ballet, the prospect of taking a first person role on the familiar but fantastical journey from cozy Christmas party to the Land of the Sweets is too enticing to pass up. Happily, in the stately Wethersfield Estate & Gardens, Mr. Schumacher and the folks at BalletCollective have found an ideal setting to realize this ambitious dream. Although I wasn’t lucky enough to attend The Nutcracker at Wethersfield in person, the production was luckily filmed for streaming (only available through December 26 here). Overall, Mr. Schumacher does well to work within the project’s constraints, which include a limited budget, a relatively small cast, and non-traditional performance spaces. Despite these challenges, Mr. Schumacher has been able to assemble a surprisingly accomplished cast from the ranks of City Ballet (at least in the streamed performance), including the gloriously imperious Sara Mearns as Sugarplum Fairy and the exciting up-and-comer Mira Nadon as Dewdrop (neither disappoint). Although I missed Balanchine’s celebrated choreography, Mr. Schumacher’s streamlined, modified steps retain the ballet’s spirit while accommodating the immersive nature of the production. The new choreography also has a newfound sense of forward-movement in its storytelling that I found refreshing. But most importantly, The Nutcracker at Wethersfield accomplishes what it set out to do – that is, to create a world in which audiences can experience the ballet’s enchantment firsthand in 360 degrees.