DEMO by Damian Woetzel Review: Gathering
October 29, 2018 | Kennedy Center – Washington, D.C.
DEMO is unlike anything you’ve ever seen. Produced by Damian Woetzel of New York City Ballet fame (and newly-appointed president of The Julliard School), DEMO is a Kennedy Center theatre experience where neither the performers nor the audience know exactly what to expect.
And that’s part of the charm of the series, now in its fourth year. The title of this fall’s performance pays homage to Jerome Robbins’ Dances at a Gathering as it fosters the community that is so vital to the arts.
This evening’s performance highlights some of the best in the performing arts industry and although this review focuses on the dance pieces, it is not to suggest that the others are of less significant. In fact, it is the quartet Brooklyn Rider‘s gorgeous interpretation of Philip Glass’ String Quartet No. 2, “Company” that ties the rest of the acts together.
It is brilliant to break the piece up into its four movements interspersed throughout the show, each one coming to a sudden halt with musicians frozen mid-stroke; this is gloriously fitting for the chilling, haunting composition.
Also, the thought-provoking poetry by Sarah Kay is spoken by the author herself, her powerful carriage and expression at times accompanied by composer and musician Caroline Shaw. It is a lovely collaboration as is the entire presentation, all artists always present on the stage while their esteemed colleagues are in the spotlight.
To witness their admiration and appreciation for one another is almost as entertaining as the works themselves. The positive energy that embraces the Terrace Theater is a welcoming refuge filled with hope, happiness, and harmony.
On the dance front, we see four distinct pieces ranging from a work-in-process to an established crowd favorite as well as two works commissioned by the Vail Dance Festival (of which Woetzel is the Artistic Director) in 2018. After the first movement of “Company” is 3Body, a creation by Rashaun Mitchell and Silas Riener who are also the two dancers alongside New York City Ballet’s Lauren Lovette.
The trio continuously check-in with each other, their faces our portal into their fun conversation. There is a sense that we are along for the ride as they experiment with movements, discovering what designs they can create with their bodies both individually and as a team. Their group hug and smiles during the bows is telling of the joy they feel working together.
After the second movement of “Company” we are treated to A Suite of Dances. If only Jerome Robbins had choreographed to all of the movements to all of Bach’s Six Suites for Cello, the audience could have seen Herman Cornejo dance even more.
But alas, there are only four in A Suite of Dances. Brooklyn Rider cellist Michael Nicolas and Cornejo delight us in their playful partnership, the dancer bravely responding to the musician’s challenges to continue; Cornejo incredibly balances the choreography’s virtuosic steps with the casual, pedestrian movements. He follows a remarkable lineage of influential male ballet dancers in this ballet – DEMO’s very own Woetzel danced this role in its New York City Ballet revival of the original work created for Mikhail Baryshnikov.
Following is Hope Boykin‘s premiere offering of both text and movement. Lovette is her dancer, the physical reflection of Boykin’s verbal essay about love. There are moments when both women shadow each other, the author herself an accomplished dancer. It is impressive both Lovette’s range as a ballerina and Boykin’s ability to effectively communicate by different mediums all at the same time.
Kurt Crowley sits at piano playing Shaw’s music, again tying in the talents of all who are on the stage. The program lists MomentsUponMoments as a work-in-process; it will be interesting to see how much further the piece evolves considering it seems so complete already.
Tiler Peck‘s Lincoln Square follows the third movement of “Company” and is danced by her and two other members of New York City Ballet, Christopher Grant and Roman Mejia. One has to assume that the title is inspired by the location where all three spend most of their waking hours – in the Lincoln Square neighborhood of New York, home of the New York City Ballet, the New York Philharmonic, and the Metropolitan Opera.
The piece tells the story of lovers and friends, and the choreography definitely calls on the jazzy cool essence of the city. The dancers are accompanied by the quartet’s violinist Johnny Gandelsman as well as Crowley again on the piano.
Closing the evening after the fourth movement of “Company” is a finale incorporating all of the performers. If the video below is any indication of the rehearsal process each time DEMO is presented, the end of the evening is organized in a mere few hours. This may lead one to believe that this results in an unrefined product, but this is not the case.
Remember, we are viewing top-notch professional artists who are working with an extremely dedicated and able Kennedy Center crew. The entire team’s effort and honesty shine prominently, and this is the most beautiful offering of all.
The next time that DEMO by Damian Woetzel will be at The Kennedy Center is March 29 & 30, 2019. It is part of the DIRECT CURRENT celebration of contemporary culture.
Featured Photo for Review of DEMO by Damian Woetzel: Gathering of Tiler Peck and Roman Mejia in Tiler Peck’s Lincoln Square © Erin Baiano
