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Lines Ballet, Hubbard Street review - SFGate
http://www.sfgate.com/performance/article/Lines-Ballet-Hubba...
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Lines Ballet, Hubbard Street review
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By Allan Ulrich
Updated 3:48 pm, Sunday, February 3, 2013
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Two dance companies join together in "Azimuth," with a happy outcome. Photo: Margo Moritz, Cal
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Alonzo King has arrived; Hubbard Street Dance
Chicago will never be the same again. Something
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alchemical has happened with the new
collaboration between San Francisco's reigning
prince of off-kilter classicism and the Midwest's
informed bastion of contemporary dance. King's
"Azimuth," uniting 28 dancers from the conjoined
Hubbard Street and Lines Ballet, dominated
Friday's Cal Performances-sponsored Hubbard visit to Berkeley's Zellerbach Hall, as it is
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bound to dominate the three remaining tour venues.
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Structured in nine sections, lit brilliantly by Axel Morgenthaler, "Azimuth" - defined by
King as "the distance between where you are headed, erased by absorption" - mingles
ensemble episodes with more intimate forays. The ravishing opening, a cloud of vapor
descending on Courtney Henry's head, is a gripping, if enigmatic, prelude to 40 minutes of
sweeping arms, stretched limbs, formidable extensions, tested balances, extreme
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isolations and dexterous technical feats, dispatched by a team clad only in Robert
Rosenwasser's pants and bathing suits. Ben Juodvalkis' commissioned score mingles a
children's choir with Hebrew chanting and yowling cats, and does the job, I guess.
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2/5/13 9:35 AM
Lines Ballet, Hubbard Street review - SFGate
http://www.sfgate.com/performance/article/Lines-Ballet-Hubba...
New tension
The Bay Area has grown familiar with King's style over three decades, but watching the
more weighted HSDC personnel come to grips with it supplies genuine theatrical tension.
Wisely, the choreographer mingles the two companies' rosters almost exclusively in the
large group outings. There's eloquence in numbers here. In a typical Lines performance,
ensemble numbers, especially unisons, often look perfunctory. Friday, especially in their
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opening appearance, those 28 dancers - swinging arms, scooping air, suddenly changing
directions - added up to a breathtaking experience.
The more modest moments strike home. There's enormous tenderness in the low-down
duet for Meredith Webster and David Harvey that closes "Azimuth" on a lyrical note.
There's humor in the rolling bodies of Hubbard's Kellie Epperheimer and four of her male
colleagues, even if it does seem a gloss on Balanchine's "Unanswered Question." This looks
like a happy and instructive collaboration.
More mixed
The other fare, all commissions, left more mixed impressions. Made last year to a pastiche
score by HSDC resident choreographer Alejandro Cerrudo, "Little mortal jump" is one of
those affable pieces that almost begs to be liked. The 10 dancers cavort around movable
wooden set pieces and meet in pushyou, pullme duets that, for all their energy, lack
emotional resonance. The sparky dancing by Jessica Tong, former San Franciscan Pablo
Piantino, Ana Lopez and Jesse Bechard left nothing to be desired.
To close, HSDC brought to the West Coast "Too Beaucoup," a 2011 full-company creation
by the Israeli team of Sharon Eyal and Gaï Behar. For all its chic flesh-toned body
stockings and hairpieces, this is basically old-fashioned pattern dance, set primarily to a
pounding minimalist mix. The movement inclines to the robotic, and the company looked
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impeccable in the reiterated unisons. Yet we seem to have traveled this road before in the
past half century of dance. At 37 minutes, this effort was, as the title suggests, much
too much.
Allan Ulrich is The San Francisco Chronicle's dance correspondent. E-mail:
[email protected]
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