No matter how many bells, whistles and special effects are deployed in a dance, if the choreography isn’t there, the exercise/event borders on being pointless. To wit: the two-act “Tesseract,” a collaboration between filmmaker Charles Atlas and choreographers Rashaun Mitchell and Silas Riener, who happen to be very good movers. That this trio also comes with a first-class pedigree—Atlas served as filmmaker-in-residence for Merce Cunningham for a decade from the early 1970s through 1983, and Mitchell and Riener both danced with the postmodern genius during the troupe’s final years—upped the expectation ante while falling short on its deliverables.
Rashaun Mitchell, Cori Kresge, Melissa Toogood, Silas Riener, Kristen Foote, and David Rafael Botana in “Tesseract.” Photograph by Mick Bello, EMPAC
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.Continue Reading
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.Continue Reading