
Come see Kara perform tonight (Monday, June 28) at 8:00 p.m. or tomorrow (Tuesday, June 29) at 7:00 p.m.
June 28, 2010
NEW YORK TIMES
The Seating Is the Stage for a Night
By GIA KOURLAS
Jason Jordan’s dance career had humble beginnings: When he was 7, he was voted the best dancer at a Brooklyn house party. (His prize amounted to $5.) He went on to train and perform with Eliot Feld’s Ballet Tech, where he was a particularly luxuriant dancer — sinewy and naïve, yet coolly confident. Now, as part of this year’s Vision Festival, Mr. Jordan presents his own company in a series of dance installations called “Stations,” in which he attempts to capture the essence of human development.
The “first intersection,” presented on Friday night at Abrons Arts Center, took place in the space’s underground theater. (The final performance is on Tuesday night in the main theater.) For this 20-minute dance, featuring direction by Patricia Nicholson, Mr. Jordan altered traditional seating by placing the audience onstage while the dancers — 13 in all — came to life, twisting and squirming in rows of blue seats.
The seating arrangement had more to do with practicalities than gimmicks. (More dancers showed up than he felt the intimate stage could handle.) Whipping out an arm, kicking a leg or rising to pose statuesquely while staring off into the distance, the dancers were caught somewhere between freedom and captivity.
The festival, now in its 15th year, focuses heavily on music, but also has a tradition of pairing dancers with avant-jazz musicians for improvisatory performances. While Mr. Jordan’s production seemed more choreographed than spontaneous, there was a wonderful live-music element. Connie Crothers played a lush, improvised piano piece that helped to transform the sophomoric seat-changing scene (there were too many moments of almost falling) into more of an adventure.
Throughout this group experience, specific interactions emerged. Chellamar Bernaud tipped Kara Walsh over a chair so that her feet pointed prettily in the air; Gerald Haynes, the odd man out, hurled himself across the rows and down the stairs until he remained seated, solitary in the front row until the bitter end.
And Miriam Parker, though she was comparatively still, reacted to the music with the most authenticity. As for Mr. Jordan, he is a choreographer in search of a voice. He can move bodies proficiently enough; the challenge for him is steering clear of clichés. It’s hard to take something seriously when every move is meant to be profound.
Performances of “Stations” continue on Monday and Tuesday at Abrons Arts Center, 466 Grand Street, Lower East Side; (212) 598-0400 or visionfestival.org.
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