Interludes

VIEWPOINTS – New York moments: The Guggenheim hosts a handful of the city’s iconic dance companies in its equally iconic rotunda

• By drediman
• April 21, 2021
• No Comments

Over the past week, the Guggenheim played host to some of New York’s iconic dance companies in its impressive, equally iconic rotunda – in my mind, a practically perfect venue (the space is sufficiently intimate yet lofty) for safely presenting live, in-person performances. These lunchtime “pop-up” performances (each lasted less than half an hour) were an extension of the museum’s pre-existing Works & Process series – which typically takes place after museum hours – and a clear indication of the determination of the city’s performing arts sector to bounce back. Of the participating companies, I was able to catch Brandon Collwes (a former dancer with the Merce Cunningham Dance Company), Mark Morris Dance Group, New York City Ballet, Martha Graham Dance Company, and Paul Taylor Dance Company (alas, I missed Limón Dance Company due to last Thursday’s wet weather). Most of these performances were accompanied by live music, which I was thrilled to see. Suffice to say, it was exciting and moving to see these cherished institutions back in action, even if they’re still in the process of getting back to full performance mode.

One of the primary pleasures of my regular visits to the Guggenheim for these short presentations is that they’ve allowed me to watch dance from various vantage points along the rotunda’s unique corkscrew ramp. Just like appreciating sculpture, this most ephemeral of art forms benefits from being observed from different perspectives and settings – an opportunity not usually available from stationary positions in traditional proscenium auditoriums. Watching Christopher Wheeldon’s delicate pas de deux “After the Rain” (via City Ballet) or the sculptural majesty of Martha Graham’s beloved creations from directly up above on the third level drew my attention to striking new shapes that had eluded me on previous viewings of these familiar works. On the other hand, I chose especially close spots for the Mark Morris and Paul Taylor performances. Both choreographers are exuberant storytellers whose ability to illicit human drama and emotion through ensemble choreography is legendary. Given my extremely close proximity, I was immersed in the sweeping humanism of Morris’s “Words” and Taylor’s “A Field of Grass” in ways I hadn’t been before. Additionally, Merce Cunningham’s distinctive choreography (precisely danced by Mr. Collwes) was never more sleek and modern than against the backdrop of the clean, elegant lines of Guggenheim’s landmarked interior .

In addition to these impromptu performances, I was also able to take in a “proper” ticketed Works & Process performance post museum close. Last Sunday’s performance featured Dance Heginbotham, whose dancers emerged from a bubble residency to perform a trio of works for Works & Process. Performing within a circle of chairs and accompanied by piano and guitar, the company danced excerpts from John Heginbotham’s Villa and Peanut (set to music by Heitor Villa-Lobos and Igor Stravinsky, respectively), as well as a new work set to Nico Muhly’s MOVE. The company refreshingly utilizes performers whom you wouldn’t necessarily peg as dancers in the traditional sense, which encourages viewers to focus less on their technical proficiency as professional dancers and more on their individuality as human beings. Indeed, Mr. Heginbotham’s works seem to bask in each performer’s charming idiosyncratic quirks, while simultaneously acknowledging the collective.

Last but not least, I’d like to applaud the Guggenheim staff for efficiently and safely accommodating the very welcome recent uptick in live performance (not just dance, but also musical theater, classical music, and jazz) in the museum, particularly during the potentially busy daytime hours.

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WORKS & PROCESS
Dance
Solomon R. Guggenheim Museum
Each program lasts approximately 30 minutes
Ongoing