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 Post subject: Twyla Tharp Dance through 2002-03
PostPosted: Sat Jan 11, 2003 5:36 pm 
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Location: SF Bay Area
Time to start a new thread on Twyla Tharp given she now has a "new" company:

Quote:
Tharp moves forward
Choreographer discards past for new program


Octavio Roca, SF Chronicle

More than once, Twyla Tharp has turned her back on having her own company. Just as often, the bad girl of American choreography has gathered her dancers and started over. She is doing that now, starting Twyla Tharp Dance with a tour that stops Friday at the Marin Veterans Memorial Auditorium in San Rafael.
<a href=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/01/12/PK171219.DTL target=_blank>More</a>

To search for other discussions on Tharp (there are several), click on the "search" link near the upper right corner of this page.

<small>[ 28 July 2003, 12:38 PM: Message edited by: Azlan ]</small>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Sun Jan 19, 2003 6:10 pm 
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Location: SF Bay Area
Quote:
Tharp's company zooms into Marin with batch of dynamic new dances

By Anita Amirrezvani, San Jose Mercury News

Preceded by her reputation as one of the leading figures in dance -- stemming from her work on films such as ``Hair,'' ``Ragtime'' and ``White Nights'' and from dance collaborations with stars like David Byrne and Mikhail Baryshnikov -- Tharp's company zoomed into the Marin Veterans Memorial Auditorium on Friday for one night only.
<a href=http://www.bayarea.com/mld/bayarea/entertainment/4982592.htm target=_blank>More</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Mon Jan 20, 2003 2:28 pm 
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Location: SF Bay Area
Quote:
An energetic night with Twyla
Tharp's company of eight performs trio of works in exhilarating show

Steven Winn, Chronicle Arts Culture Critic

The Twyla Tharp Dance Company flew through the Bay Area Friday, in a high- velocity evening at the Marin Veterans Memorial Auditorium in San Rafael.
<a href=http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2003/01/20/DD73750.DTL target=_blank>More</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Mon Jan 20, 2003 9:51 pm 
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Location: Where little cable cars climb halfway to the stars
Twyla Tharp Dance Company. Marin Civic Center. San Rafael, California.
January 17, 2003.


For any audience, but especially one that hasn’t seen Twyla Tharp’s work previously, “Westerly Round” makes for an especially good opener. To the stylized music “Call of the Mockingbird,” by Mark O’Connor, it places the Tharp duality center stage in a kind of “Rodeo”-derivative, “Appalachian Spring”-derivative piece that invokes traditional dance forms and scuttles them, all at the same time. This is what Tharp is all about; it’s a synopsis of the career-long conundrum that has gained her the stature and admiration that remains with us today.

Emily Coates dances what look to be balletic steps, custom-tailored to her strengths, “turned-in,” as we sometimes call work in parallel. It has that carefree, aw-shucks tomboy-Tharp scuffiness at its core, and renders Coates a magnet for the three men who follow her onto the stage. The men’s choreography is also carefully tapered to point up their strengths, as they dance dos y dos and other twinings around each other and with Ms. Coates. They’re all tuned to the fiddle music in O’Connor’s composition, and the effect is both lighthearted and penetrating, as limbs vibrate with the fiddle strings. In Coates’ solo, there is a faux-tentative halting quality that makes us pay attention to each phrase.

A male dancer begins a duet where first there is no notice or acknowledgment between the dancers, and then, contrariwise, there’s a full-out, playful romp that draws in the other two men. While this reviewer has a well-established distaste for street clothes-as-costume, I must admit that these off-the-rack duds work well because they don’t seem pedestrian or intrusive. In combination with the loose-necked spins that come at the top of the quartet, they contribute to the kid-like, after-school-romp spirit of the work. Power and technique are the specialty of Charlie Neshyba-Hodges, and the audience roundly salutes his contribution throughout the program. Jason McDole is the solid citizen of the ensemble, and Dario Vaccaro, in spite of a wobble here and there in his extensions, presents a glowing line in his adage. Ms. Coates remains radiantly expectant throughout.

The second piece on the program, “Even the King,” opens (somewhat inexplicably) with just an ordinary plastic and steel stack chair on the stage. This is a story ballet centering around a dance-away lover (Lynda Sing), set to a Johann Strauss waltz (Kaiserwalzer, Opus 437), and so the chair as a prop is a puzzle I still haven’t managed to solve.

The male soloist, Matthew Dibble, begins a series of modified balancés as lights and shadows criss-cross above him to form a kind of skylight. With the addition of a few arabesque en dehors turns, the balancés reach deeper into the floor. More dancers enter, and finally Ms. Sing arrives to be Dibble’s willowy-armed waltz partner. The waltz partnering is juicy, carrying forward the momentum of the deep floor work at the top of the piece. The women dance jewel-like, each in a different-colored cropped flowered georgette. The men are their “settings.” Charlie Neshyba-Hodges dances out a richer confection than he was able to show us in “Westerly Rounds” because of the limits set by the previous piece’s choreography. Dario Vacarro gives us the quintessential peacock of a rival to Dibble. In a single downbeat, he takes the floor and Sing from Dibble. Dibble recovers from his bewilderment, and the waltz joust begins in earnest with both of Ms. Sing’s partners and the other men thrown into the competition for good measure.

There are always two stories going on in Ms. Tharp’s work, as well as two dance disciplines. She simply cannot leave one for the other and that rivalry/ambivalence is alive and well in this piece. Sometimes the contenders take notice of each other and sometimes not, as was also evident in the previous piece. In spite of its regal title, “Even the King” exudes a kind of Tin Pan Alley melancholy. The chorus of dancers who support the operetta-like shenanigans onstage, dance persuasively enough to exert a polarity that pulls the loser-lover off-stage into the wings with them at the close of the piece. Then the lights dim, just like on Broadway…

The evening’s closer was Ms. Tharp’s tour de force and least derivative work of this program, unless an accidental reincarnation-suggestion of the Fakirs in “La Bayadere” happens to occur to you.

“Surfer at the River Styx” is set to a musical composition by Donald Knaack, and opens with the syncopation of chimes, intimating correctly that this is a work that follows its own clock. The dancers are dressed in black tights cut off at the knee, the men bare-chested and the women in black bras. The set could be the back of a stadium, or a subway, or a grotto, any or all remnants of which would make for an appropriate backdrop to the River Styx in its modern encryption. The dancers seem to wash themselves in the chants that rise from the syncopation.

Ms. Tharp’s arabesque-extended arm slices look different here. They move from stock-phrase trademarks into a kind of ritual, hypnotic trance-inducing holography of what our culture has washed up for us. A set of triplet movements enmeshes into a complex grapevine of dancers wending quickly over, under and around each other’s extended arms. There is no egress from this cul-de-sac harness of a group embrace.

Glissade-like slides spurred by pulses send the dancers through at least four levels of what a body can do, all to a zither riff that cuts the action back to two dancers. All the while, the audience screams its approval of Mr. Neshyba-Hodges’ and Matthew Dibbles’ pairing. The dancers “blow” at a stage light that gives rise to a bonfire, as the lights brighten for a moment and are then extinguished.

A coda of dancers emerges in choreography that can best be described as “bringing cave drawings to life,” as extended flexed arms and feet and cocked heads dance like shadowy river sprites. (We tend to overuse the word “eclectic” to describe what we can’t otherwise give a name to. Ms. Tharp’s piece is truly eclectic in its reach into the literate and preliterate argot of dance, as she shows how work and play were interchangeable once upon a time.)

Men really get to strut their stuff in this work, and the triple tours followed by the counter-manege duet toward the end of the piece, followed by technically perfect barrel turns, bring down the house. The dancing just works and seems to crow: “See, I could dance classical ballet if I wanted to, but I choose to do something in a broader idiom. Hah!” The choreographer’s Southern imprimatur is left on the evening in the cat’s paw cakewalk finale that rings down the curtain. The audience went temporarily insane over this definitive contribution by Ms. Tharp, and justifiably so!

_________________
"Live your life as an exclamation, not an explanation!" Eddie Izzard


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Wed Jan 22, 2003 12:53 am 
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Location: SF Bay Area
Quote:
Tharp's new company knocks 'em dead

BY RACHEL HOWARD, SF Examiner

Last year I had the opportunity to meet one of my favorite dance critics, Marcia Siegel, who has been working on a biography of Twyla Tharp for some span of time approaching eternity. The famously temperamental Tharp had just thrown away the chance to establish her own dance center a stone's throw from Mark Morris', and disbanded her company for the umpteenth time.
<a href=http://63.78.169.150/ex_files/default.jsp?story=X0121DANCEw target=_blank>More</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Wed Jan 22, 2003 2:27 pm 
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Location: SF Bay Area
Quote:
Tharp's juggernaut rolls on

BY HEDY WEISS, Chicago Sun-Times

In biblical terms, you might say that choreographer Twyla Tharp robbed Peter to pay Paul when she plucked members of her company to star on Broadway in "Movin' Out," her dance-driven musical set to the Billy Joel songbook.
<a href=http://www.suntimes.com/output/weiss/cst-ftr-stage22a.html target=_blank>More</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Thu Jan 23, 2003 1:04 am 
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I've posted an article detailing the company's visit to Houston this week in <a href="http://forum.criticaldance.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=5;t=001628">this thread </a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Feb 04, 2003 12:52 am 
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Location: Santa Barbara, CA USA
Quote:
Twyla hasn't lost a step
Marc Shugold, Rocky Mountain News

Twyla Tharp would prefer to let her work speak for itself.

The intense choreographer has rarely talked with the media over the years about herself and her huge, and hugely popular, body of work.

Not much has changed, even when the subject at hand is her headline-making decision to blend the members of Twyla Tharp Dance into American Ballet Theatre in 1988 and send her company into a hiatus that lasted for 12 years.
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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Mon Feb 17, 2003 12:08 pm 
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Location: SF Bay Area
A review in the NY Times:

Quote:
Some Old Lessons for a New Company

By JENNIFER DUNNING, NY Times

NEWARK, Feb. 14 — It should come as no surprise that Twyla Tharp's new touring company, which performed tonight at the New Jersey Performing Arts Center here, is filled with distinctive-looking virtuoso ballet dancers who hit the ground running. <a href=http://www.nytimes.com/2003/02/17/arts/dance/17THAR.html target=_blank>more</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Mar 04, 2003 7:37 pm 
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Deborah Jowitt in the Village Voice:

Quote:
I used to wish someone would give Twyla Tharp a good-sized company and a theater and a lot of money, so she could whip up marvelous dances year in and year out. <a href=http://www.villagevoice.com/issues/0310/jowitt.php target=_blank>more</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Apr 01, 2003 2:06 am 
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Location: London, England; Tallinn, Estonia
Tharp riveting, unpredictable
Choreography shows a modern sensibility with veteran's touch. By Elaine Guregian for the Akron Beacon Journal.

For a dozen years, ending in 1999, the dance company of innovative choreographer Twyla Tharp was on hiatus. A national tour brought the regrouped company to Playhouse Square's State Theatre on Sunday night, and these dancers left their mark on the place with the psychological force of their amazing dancing in Tharp's Surfer at the River Styx.

Tharp has been a major figure in the dance world for years, having created famous individual pieces like Deuce Coup (written to music by the Beach Boys for the Joffrey Ballet) and choreographed for such movies as Hair, Ragtime and Amadeus. She also conceived, choreographed and directed Movin' Out, a musical based on 24 Billy Joel songs, which is now running on Broadway.

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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Apr 01, 2003 9:53 am 
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Location: SF Bay Area
In Cleveland:

Quote:
Globe-trotting show highlights a splendid marriage of styles

Wilma Salisbury
Plain Dealer Dance Critic

Twyla Tharp Dance frolicked through the American West, tweaked aristocratic European traditions and plunged into the blackness of Greek tragedy Sunday night at the State Theatre in Playhouse Square. <a href=http://www.cleveland.com/artsandevents/plaindealer/index.ssf?/base/entertainment/104919323338820.xml target=_blank>more</a>


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Apr 01, 2003 1:03 pm 
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Location: Embedded in a New England backwater, Northeastern CT, USA
I'm looking forward to seeing Tharp Dance when they perform here at the University of Connecticut this month. I'm a bit puzzled though. The publicity postcard is a photo of "I Remember Clifford" with Hubbard Street dancers. None of the reviews here mention that piece. What gives? Is the repetoire & cast about to change?


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Tue Apr 01, 2003 3:09 pm 
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Location: SF Bay Area
That is interesting, Eye4dance. Perhaps the photo on the publicity postcard is a generic one? Egads...

Also, I am sure others will appreciate reading any impressions, no matter how brief, you have of the performances.


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 Post subject: Re: Twyla Tharp Dance through 2002-03
PostPosted: Thu Apr 03, 2003 2:09 pm 
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Location: SF Bay Area
A feature in the Hartford Courant:

Quote:
Movin' On, Movin' Up, Movin' Out - Always On The Move

By FRANK RIZZO

Twyla Tharp is seated, a hand on her hip, leaning slightly forward. She is perfectly still, yet there's tension. <a href=http://www.ctnow.com/entertainment/stage/hc-twyla.artapr03,0,1944601.story?coll=hc%2Dheadlines%2Darts target=_blank>more</a>


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