Ice Theatre of New York
Vol. 16, No. 4, 2003Ice Theatre of New York
This was my first full concert to see of Ice Theatre of New York though they are in residence at the Chelsea Piers and have existed since 1984. Wednesday, November 6, 2002 was the date of their annual program new works ready for view by the resident and guest choreographers.The evening began with a composition for six females in gossamer gowns of sparkling winter whites entitled Departures. This ballet had a concerto form which used the lead dancer I believe Eve Chalom to reconfigure the action and geometric in space by either initiating the processional rituals or, by escaping stasis. To accomplish this, she would burst up the symmetry of Florentine Houdiniere, Daphne Johnson, Kimberly Navarro, Alyssa Stith and Susan Wilsey. One thought of George Balanchines's august Serenade for the manner of beginning the dance with a simple slow arm gesture in unison flat front to audience that startles the audience when the legs make a staccato statement into first position.
These beautiful dancers achieved the same effect and continued to demonstrate the shared and extended legacy of ballet and ice dancing. This medium of ice both enhances the range of movement and telescopes the placement of gestures. Choreographer Doug Webster also utilized these contrasting objectives in the American square dance patterns. The circling promenades of couples reaching toward each other in opposite interlocking directions were gestures of greeting that enlarged into gestures of tender support. Here indeed was a sisterhood of Willis that did not need to dance someone to death but rather chose reverence and continuous procession thought the moonlit lighting scheme.
May we be courageous
And know that there is a better place
May we always reach for the hand that will lift us out of our suffering
May we also remember
To extend a hand to those who suffer
Let us be compassionate to all souls,
For then our wings may open
An perhaps we will fly without fear
And ascend in flight with angels
(In Memory of Clarin Schwartz)
It is very special to see how going from parallel first to a wide second position is transposed by the medium of ice. Most terrestrial dancers forget this is not just an everyday mundane action to do. For these dancers, this task of going forward or, skating away from the audience is an opportunity to acknowledge volume and the pleasure of feeling ones breath.
Ballet star and ice dancing diva Katherine Healy performed and choreographed a tango solo. The rhythm is everything in defining this visual bravura treat. Her red paneled costume reiterated the fiery emotional feelings of this national dance of Argentina (here perceived for classical ballet audiences). Ms. Healy pulls out all the stops and gambled on her audience wanting to see her execute competition skating feats while moving within the time constrains of Tango tempi. She presented her moves with all the care that a world class figure skater must win high points. We saw double axels, speedy travels around a wide circumference, smooth transitions into and out of turns and breathtaking 6:00 penche held perfectly still while traveling the length of the arena. By covering such a distance, each audience member had his or her personal view of this feat. And, in case you missed it, say by falling off the aluminum benches or down the steep unlit stairs (as some folks did do), Ms. Healy did this 6:00 penche again but now traveling backward on her skate to flesh in the girth of the arena. To the person, the audience went wild and cheered Katherine Healy for her American determination to stay on top of her scorecard of artistry.
David Liu is clearly a star of Ice Theatre of New York. He has the special stillness and magic of legendary figures that makes you remember just what he did, no matter how many 'others' may also be on stage (ice). Solos, Gershwin Theme by Jojo Starbucks and his Own Come Away With Me demonstrate his aplomb and nonchalance elegance. I would argue that these costumes merely kept him warm and insulated from the ice when he did floor work. Yet, he could be nude and you would still stay focuses on the emotional colors and feelings he conveys through movement. Liu's bravura is a most different sort to Roman Serov's.
Roman Serov is clearly a star of the ice too. He embodies the ideals of Soviet style male dancing, the likes of Chabukiani and certainly the feats of strengths and timing on the ice that Russia is renown for. Choreographer Viktor Kudriatsev knows how to devise phrases that show the male body in heroic proportion. Roman Serov was extremely heroic though his wiry frame was clad in black velvet.
Guest artist Lucinda Ruh is one ice dancing diva. Her credits also list her as the Queen of Spin, a title she garners by her 270 revolutions per minutes spinning skills. Legends are made of this type of skill, courage and virtuosity evident here. In spades she possesses these ingredients and a master chef's savvy to synthesize feats into gourmet entertainment. Kudos to Ms. Ruh and choreographer Robin Cousins for the composition entitled Mercy.
The composition Katherine Healy made in homage to her mentor John Curry is a good first draft. My guess is that she will soon be able to sort out what to keep, condense and expand to bring clarity now that a formal presentation has happened. It is entitled Through A Glass Darkly. It is an allegorical telling of how ballet and ice skating co-exist in the minds, bodies and spiritual realms of the protagonist. Healy dances her. There is Kevin Curtis who dances a Byronic male lead and a figure skating archetype danced by Breanne Scully. The ballet also uses a chorus of four skaters to amplify, trumpet and reiterate the themes. These skaters are Florentine Houdiniere, Daphne Johnson, Alyssa Stith & Susan Wilsey. For example, one grasped the theme of exposing the cultural stereotypes and motifs shared concerning skating, dancing little girls, jewel boxes with mirrors & ballerinas ever turning with said mirrors and a rinky- tink melody going or, front and center stage for fouette variations. Katherine Healy is exploring her vision quest, and not the one Don Quixote sought while chasing Dulcea and windmills. One wants to see the final draft: To be continued.
Joanna Mendl Shaw and David Liu have choreographed a ballet for four dancers, Alyssa Stith, David Tankersley, Susan Wilsey and Waka Watanabe. This work is entitled Thin Ice \ Common Ground. It is the type of composition that elder modern dance ancestor Doris Humphery would be proud of. The program notes however are quite abstract and unnecessary for this dance. In fact, I was glad that I had not seen the program notes before viewing. The work has a solitary figure without skates that interacts with the skaters in quite dramatic ways. For the beginning, she is seated on a bench with sleigh blades and is pulled around by the skaters. Her different skills and mobility for this "terra firma" were shown. There were references to a number of Humphery's ballets and movement studies concerning fall like platforms and boxes. These choreographers produce a fascinating ballet and know just how to develop materials and generate theatre. One looks forward to seeing more of the programs of Ice Theatre of New York. They are truly challenging audiences and choreographers to experience new vistas coupled to traditions of excellence.
