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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Wed Nov 14, 2001 9:11 pm 
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A review of the company's season opener at the Joyce:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Complexities in a Battle of the Sexes<P>ANNA KISSELGOFF, NY Times<P>A splendid gala studded with rare revivals from the 1940's, guest artists, a premiere with an emotional wallop by Doug Varone and promising excerpts from novelties to come opened the Limón Dance Company's season at the Joyce Theater on Tuesday night.<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/11/15/arts/dance/15LIMO.html target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Wed Nov 14, 2001 10:25 pm 
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This sounds like a true "gala" in the real sense of the word. I am ecstatic that the Limon Co. has enlisted Doug Varone as a choreographer. Truly a blending of the best of old and new.....Varone is a Limon alumni. And the return of such veterans as Nina Watt and Risa Steinberg is truly wonderful. What I know of Donald McKayle he is another choreographer in the humanist tradition of Limon himself. I wish the Limon Co all the best!!


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sun Nov 18, 2001 10:15 am 
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An interview with AD Carla Maxwell:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>How to Spot the Classics in the Crowd of Modern Dance<P>VALERIE GLADSTONE, NY Times<P>AFTER a day spent rehearsing, Carla Maxwell, the artistic director of the Limón Dance Company, recently took time to show a visitor a videotape of the choreographer Doris Humphrey's radiant dance "Invention." Set to a score by Norman Lloyd and created in 1949, it is receiving its first performance in 40 years during the troupe's current season at the Joyce Theater, ending next Sunday.<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/11/18/arts/dance/18GLAD.html target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sun Nov 18, 2001 9:55 pm 
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A review of the next program:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>So Many Sailors but So Little Love<P>ANNA KISSELGOFF, NY Times<P>Beware the siren's call, but pity the siren, too. Invited to create a new work for the Limón Dance Company's current and splendidly danced season at the Joyce Theater, the veteran choreographer Murray Louis has played some witty mischief with ancient myth in "Isle (From an Ancient Legend)."<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/11/19/arts/dance/19LIMO.html target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Tue Nov 20, 2001 11:27 am 
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A report from Debora Jowitt in the Village Voice:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The Limón Dance Company's 55th-anniversary gala celebrated four remarkable dancers who'll perform during the company's Joyce season through Sunday (Risa Steinberg and Doug Varone return as guest artists).<HR></BLOCKQUOTE><P><a href=http://www.villagevoice.com/issues/0147/jowitt.php target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sat Nov 24, 2001 9:50 am 
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I'm glad Jack Anderson pointed out the quality of this company's dancers:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Acceptance, in a Revival, for an Abstract Work<P>JACK ANDERSON, NY Times<P>The Limón Dance Company showed off its eclectic repertory and the skill of its dancers on Wednesday night at the Joyce Theater.<HR></BLOCKQUOTE><P><a href=http://www.nytimes.com/2001/11/24/arts/dance/24LIMO.html target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sun Nov 25, 2001 12:31 pm 
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This sounds like an interesting, diverse program. The Limon company has done several works by Murray Louis in the past. Although Mr. Anderson lists this a curious choice,(aesthetic divergence of Limon vs. Louis/Nikolais) we should remember that Limon also did some abstract pieces in his day, among them "Chaconne" (l942), "Concerto Grosso" and others. I am also pleased that Amber Merkens is dancing with Limon. If I'm remembering correctly, I think she had done some choreographic collaborations with Pilobolus and/or Momix. It's good to see she's "branching out". Ms. Merkens is also a talented dance writer. She's written some cool things in The Juilliard Journal (alumni mag). Mark Haim is an interesting fellow. He was a talented pianist before pursuing dance. I can't quite get a clear "picture" of this choreography from this review. Anyone seen this or any Mark Haim work recently? I think he's done a solo version of "Goldberg Variations". Quite a feat, as I think that piece is around an hour long? I "think" I'm right on that....or am I thinking of "Dances at a Gathering". Yikes, that was by Chopin.


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Mon Nov 26, 2001 11:36 am 
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Tobi Tobias makes note of the dancing quality too:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Limón Dance Company<BR>At the Joyce Theater<P>TOBI TOBIAS, NY Mag<P>Though its repertory is an up-and-down affair, the Limón Dance Company offers dancing to disarm the most jaded viewer. Its beautiful finish is clearly an attribute of sophisticated artists, yet it retains an ingenuous quality. It is unaffectedly passionate and tender, with body and soul conceived as an indivisible unit.<HR></BLOCKQUOTE><P><a href=http://www.newyorkmag.com/page.cfm?page_id=5442 target=_blank>More</a>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Fri Mar 29, 2002 5:40 am 
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From the Los Angeles Times:<P><B>A Collaboration as Fluid as a Dance<BR>For "Cross Roads," a composer and a choreographer offered each other ideas and inspiration.</B><P>By JENNIFER FISHER<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>When a choreographer sits in a music studio, or a composer watches a dance rehearsal, both movement and sound tend to take fresh creative swerves.<BR> Or at least that was what happened when veteran dance-maker Donald McKayle and flutist-composer James Newton got together to make "Cross Roads," which has its West Coast premiere Friday night, during a two-day engagement of the José Limón Dance Company at the Luckman Fine Arts Complex.<HR></BLOCKQUOTE><P><BR><A HREF="http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!ArticleDetail-54772,00.html" TARGET=_blank><B>MORE...</B></A>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Mon Apr 08, 2002 5:24 am 
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From the Los Angeles Times:<P><B>Limon Troupe Puts Outsiders Center</B><P>By LEWIS SEGAL, Times Staff Writer<P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Three choreographers obsessed with outsiders made a challenging program by the Jose Limon Dance Company surprisingly unified on Friday in the Luckman Theatre at Cal State L.A. <BR> Donald McKayle's 2001 "Cross Roads" depicted a divided society defined by costume colors. You could think of his opposing cadres in brown or red as symbolizing racial differences, gang colors or social classes, but when Kimiye Corwin and Dante Puleio left their in-group partners for a relationship a la "Romeo and Juliet," they became outcasts.<HR></BLOCKQUOTE><P><A HREF="http://www.calendarlive.com/top/1,1419,L-LATimes-Theater-X!ArticleDetail-55642,00.html" TARGET=_blank><B>MORE...</B></A> <BR>


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Mon Apr 08, 2002 8:07 pm 
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Whoa! From Lewis Segal's review:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Artistic director Carla Maxwell recently restaged the work (<I>Psalm</I>), replacing music by Eugene Lester with a new score by Jon Magnussen--a score arguably too conventionally religious for Limon's unresolved statement of embattled faith.<HR></BLOCKQUOTE><P>Oy... Can she do that? Can anyone do that and still be true to Limon's original vision?<p>[This message has been edited by Azlan (edited April 08, 2002).]


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Fri Apr 12, 2002 8:45 pm 
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Limón Dance Company<BR>"Rythme et... Jazz"<BR>Théâtre Maisonneuve, Place des Arts<BR>Montréal<BR>April 12, 2002<P>The Limón Company's "Rythme et... Jazz" program is difficult to grasp. How to resolve a program which presents Limón’s acclaimed "Psalm" along side the highly accessible jazz-based movement of "If Winter"? Not to mention the accompanying popular jazz music? "Cross Roads" also seems pale next to Limón’s oeuvre. Limón's bold sensibilities were so very present in his choreographies as ineffable modernist statements. They broke the established rules and conventions through a clearly contemporary mode of expression. Not only did they oppose the veneer of effortlessness and weightlessness found in classical ballet, they demonstrated gravity through fall and recovery. I suppose the company is in a "damned if they do and damned if they don't" position because any work they present will be compared to Limón's own choreography but it doesn't help to put such diverse pieces all on the same bill. Artistic Director Carla Maxwell's solo study on Limón seems fitting but its vocabulary is culled from two of Limón's own choreographies. If this was a new company I could simply be lulled by the finely tuned group of dancers and write off the contrasts between the pieces, but this is the oldest modern company in the United States and the easily accessible dance and music seem at disparate odds with the artistic consciousness that Limón established.<P>At a first glance Billy Siegenfeld's "If Winter" appears to have jumped right off the pages of a J. Crew catalogue. Costumer designer Katherine McDowell has the dancers outfitted in light plaid skirts and pants topped with pastels shirts, their feet clad in sneakers. In the first section, "Early Autumn," they move happily, running from place to place, bobbing and shaking as if they are reliving their memories of a summer spent in the Hamptons. Their movements are loose and nimble; flip-floppy hands seem to guide the dancers through the space, endlessly flicking to the beat of the carefree jazz score. In the second section, "I thought about you," six figures in dark overcoats act as a Greek chorus to a woman who seems to embody the joys of brighter and warmer seasons. Ultimately she awakens them from the depths of winter and they cast their heavy coats aside. In the final segment Lighting Designer Steve Woods kindly projects images of daisies on to the marly so even if you didn't read your program ahead of time, you could guess that this part was called something like "Up Jumped Spring." Spring is sprung, flowers are flung, and all's well that ends well.<P>"Étude," a short solo choreographed by Artistic Director Carla Maxwell, was conceived as a means of working specifically with Limón's choreographic vocabulary. Garnering movement from "Psalm" and "Dances for Isadora," Maxwell captures the essence of Limón skillfully, not only in the more formal stylistic aspects but also in the less tangible in-between moments of suspension that are so connected to the rebound in the technique. Dancer Jonathan Riedel is a joy to watch; he embodies the piece with a steadfast grace, unwavering in his strength and ability.<P>Donald McKayle's "Crossroads" is an exotic love story propelled by pulsing poly rhythms. The choreography and even the costumes (half the performers dressed in one colour, half in another) suggest tribal overtones with Mary Ford and Francisco Ruvalcaba playing the star-crossed lovers from different tribes. The arrival of a Robert Regala as the "witch doctor" in his grass skirt is reminiscent of a scene from the 1933 version of King Kong when the natives on Skull Island kidnap Fay Wray. "Crossroads" is a curious piece; it seems to want to say something profound about human relationships and forbidden desires—-particularly when the witch doctor casts his spells on the young lovers—-but I must admit, I never identified with, or felt much for these characters in spite of the strong dancing.<P>The newly remounted "Psalm" (originally choreographed by Limón in 1967) is based on Andre Schwarz-Bart's novel "The Last of the Just," which in turn is derived from the Jewish legend of "36 Just Men" who unknowingly carry all of the sorrows of the world in order to prevent God from destroying the earth. "Psalm" embodies one man's stirring search for meaning in things that cannot be understood. Limón's structured movements and groupings of the dancers are heavily symbolic, reinforcing the internal conflict of the Last Man, his stark isolation and anguish, and finally his release from earthly burdens. "Psalm" is modern dance on an epic scale, resounding in its magnitude. The talented Robert Regala dances the Just Man with staggering skill and clarity. The company as a whole dances seemingly effortlessly, carrying out physically demanding sections with awe-inspiring intensity.<P>Unfortunately, from the balcony Marion Williams' costumes of long gray dresses over gray pants on the women and gray long sleeve t-shirts and pants on the men look a little like pajamas. I would have liked to see more of the women’s bodies, particularly their legs which are hidden under all of that material. The lining (half of the costumes in turquoise, half in crimson) was a nice detail, it seemed to represent the underlying human spirit—-especially as it flipped into view on the short sleeves of the dresses while the women danced.<P>The remounted "Psalm" uses a score by Jon Magnussen as a replacement for Eugene Lester's original music. I have never heard the original and I don't know why it was changed, but this score employs the thunderous singing of a choir. It distracts from the disquieting turmoil displayed by the central figure because it allays the unbearable suffering of the Just Man through religious respite. By that I mean that it reads a little like when a studio gives a movie a new ending because the audience doesn't want the hero to die without some kind of absolution.<P>Limón's legacy is revealed in the dancers themselves as living embodiments of the rich choreography that he created for "Psalm." It's almost shocking when the work comes to its abrupt finish but it's a testament to Limón's tremendous artistic sensitivity. The conclusion he constructed is an intelligent choreographic metaphor for life as something that can't be controlled, rarely ending when and how we expect it.<P><p>[This message has been edited by Marie (edited April 12, 2002).]


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sun Apr 14, 2002 5:27 pm 
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Wow, Marie. Thanks for this. And here is an article of the person responsible for the company's direction in the Bay Area:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B>Teacher works to put San Jose on dance map<BR>GARY MASTERS COACHES STUDENTS, BRINGS LIMO(ACU)N COMPANY HERE</B><P>Anita Amirrezvani, SJ Mercury News<P>...<P>Most modern dance companies don't perform south of Palo Alto or north of Santa Cruz. More likely, they just stop in the city to the north, one of the most dance-friendly towns in the country. But Limón is uniquely committed to San Jose.<P>Much of that is because of Masters. Formerly a Limón dancer and an artistic associate of the company for many years, Masters formed a relationship between the company and San Jose in 1994. Since then, the company has been financing its own workshops and performances in the area, even though attendance at recent shows has been heartbreakingly scant.<HR></BLOCKQUOTE><P><a href=http://www.bayarea.com/mld/mercurynews/entertainment/3062353.htm target=_blank><B>More</B></a><p>[This message has been edited by Azlan (edited April 14, 2002).]


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Thu Apr 18, 2002 11:55 am 
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Just a reminder that the company is performing in San Jose, California this weekend.


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 Post subject: Re: Jose Limon Dance Company through 2002-03 Season
PostPosted: Sun Apr 21, 2002 1:45 pm 
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Marie, thank you for your impressions. I saw "Psalm" Friday night in San Jose, as part of the "Dance Around the World" night put together by Gary Masters, AD of Limon Dance San Jose [See the <a href=../../../ubb/Forum5/HTML/001248.html target=_blank><B>Gary Masters (Limón) and Modern Dance in San Jose</B></a> thread]. According to Masters, Carla Maxwell had to use a different score because the original tape was damaged, the score is lost and the composer has died.<P>I was very moved by this piece, having not seen it before, especially by its references to suffering and heroism.<P>It was also a big night for Masters. Besides premiering a new work, "Falling Into Fertility/Women's Stories," on the University Dance Theatre of SJSU, where he and his partner Fred Matthews are on the dance faculty, he also set Jose Limon's "The Unsung" on a local amateur company, IndepenDance.<P>Although the dancing wasn't the cleanest for "The Unsung," this naturally rythmic work, danced almost entirely by women (it was originally choreographed for all men), was hypnotic and mesmerizing.<p>[This message has been edited by Azlan (edited April 21, 2002).]


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