Finding my seat at Ohad Naharin and Batsheva Dance Company’s “Decadance,” the performance has already begun. In his own private world, on the stage of the State Theatre, Shamel Pitts, in a loose black suit and untucked white shirt, is dancing and I am so glad I have arrived with enough time to catch his playful, loose-kneed, liquid groove. To the side-to-side sway of early samba and late ’50s bossa nova, his moves call to mind how we might all dance if no one were watching. It is the contented, inward, and liberated dance of getting ready for a party, ironing one’s pants to the sounds of Jackie Davis at the console playing the danceable “Glow Worm Cha-Cha-Cha,” and later changing one’s earrings as Peruvian soprano Yma Súmac’s pours her allure into the “Gopher Mambo.” Unhurried, undeterred, pleasurable. The mood is smooth, ripe, and expectant. And as Pitts mimics a wriggly glow worm on the floor, the still-settling audience applauds. With house lights still on, the tone is set.
Batsheva Dance Company in “Decadance.” Photograph by David Harris
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Plus
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Plus