IMPRESSIONS: Guggenheim's Works & Process with Jared Angle, Sara Mearns, Jodi Melnick, and T
First review of the season! This was a review that was assigned rather than one I requested (next year, American Realness, I'll be there; I promise, but until then, here's my colleague's take), but I got a lot out of these two work, particularly NEW BODIES.
TWO MINUTES TO READ
PREVIEW AND LINK FOLLOW AFTER PICTURE
Jared Angle, Gretchen Smith, Jodi Melnick, and Sara Mearns in Melnick's NEW BODIES at the Guggenheim. Photo by Robert Altman.
It wasn’t a match made in heaven. Instead, it was one forged on a dance floor sheened with perspiration and inspiration when Claudia La Rocco played cupid between uptown and downtown artists as part of Danspace’s Platform 2015: Dancers, Buildings and People in the Streets. A grouping that included Sara Mearns, principal at New York City Ballet, and celebrated choreographer Jodi Melnick proved so revelatory that the two jumped at the opportunity to work together again when Jacob’s Pillow gave Mearns a residency.
This time, Mearns invited fellow NYCB members Jared Angle and Gretchen Smith to participate with her. The result is the enigmatic, charismatic NEW BODIES (2016), which received an encore performance at the Solomon R. Guggenheim Museum as part of Works & Process where Taylor Stanley replaced an injured Smith. The trio incrementally evolves from individuals to a community over three sections set to harpsichord and violin solos. The sleek One of Sixty-Five Thousand Gestures, performed by Melnick and choreographed with the late Trisha Brown, opens the program.
Melnick disassembles bodies, phrases, even pieces into . . .
TO READ THE BALANCE, PLEASE VISIT THE DANCE ENTHUSIAST.