Isabel Gotzkowky and Friends part with NYC, DNA, and fans
October 5, 2011
farewell, Isabel
Isabel Gotzkowsky's farewell season at Dance New Amsterdam began with Jon Zimmerman's movement and sound overture. He danced to the sound of dripping water as we took our seats for the company's last New York performance. I'm glad I caught their bittersweet eleventh hour October 3rd.
The mood was subdued at first. The new B-Sides has slow and lovely stretched steps and comfortably spaced individual movers in unison. Masanori Asahara and Seth Miner's fast, energetic, hip-hop inspired duet brings B-Sides up to speed. The rest (six) shadow them with acrobatic poses against the pillars. About midway through, Marie Douesnard stands centered against white scrims upstage. In those brief moments she manages to pull on our heartstrings. Images of dancers' body parts flash on the scrims, adding to the dreamlike, life-passing-before-you aura. Zimmerman, in a whip-smart exit maneuver, sends Douesnard flying into the wings. The dance reverie is a strong opening work for departing choreographer Gotzkowsky. She and Zimmerman leave for her home in Germany as newlyweds.
Fans then saw the return of the company signature Bound, a celebration of the beautiful body. Gotzkowsy and Zimmerman promenade in circular phrases to sacred music. They are bare above their long, connected skirt-trains, The barefoot Bound has four sections. A chorus-like quartet dances to Handel. As they move apart, we see that connecting cloth trains also pair this group. Then, three connected in tattered red engage in an excellent gladiator game. Finally the principals return. This time they are bound to points outside the performing area. They reach for each other and nearly connect at the perfectly timed blackout in Stephen Petrilli's lighting.
After a short intermission, they gave a second premiere for the full house of fans, some bearing bouquets. According to the press release, Kafka's Cotillion is Gotzkowsky reflection on her 23 years as a New York dance artist. We can surmise that she had a great time here.
The dance is cabaret, or is it karaoke? Zimmerman mouths the vocals from a popular aria in the score. It starts off innocently enough with a mild tango. Kafka(?) is reading through bookish glasses. The pairs proceed to drop hitherto notions of normalcy overboard in this gender bending finale. Personality reigns. There are love trios that trump those we saw in Susan Stroman's Frankie and Johnny...and Rose for City Ballet earlier this year. Did Gotzkowsky see that and think she could do better? She did. DNA's intimate setting may be more conducive to fun. The dancehall humor in Antony Tudor's Judgment of Paris comes to mind. In Cotillion, a tango floor turns polka and then on to pointe. Among many costume changes, the men don pumps; the women, combat boots. Louie Marin drives the fun with his Latin flair. Katie Aggen hilariously spoofs everything within reach. She makes a beeline for Miner and she's visibly thrilled when someone rips off his pants and he dances in bright print briefs. Asahara and Miner's engaging fight dance has the group watching from the sidelines, passing around popcorn, while the audience is rapt. In a final coup, they lift trusting lightweight Stephanie Landouer in cartwheels across their line. We applaud and exit grinning, with the Gershwin tune (in Gotzkowsky's mixed score) "'S Wonderful" ringing in our ears.
