At the end of Yin Yue's “A Measurable Existence” on June 15, Marla Phelan and Kevin Pajarillaga walked stoically forward and back, one downstage and one upstage, standing in a glow of orange lighting. The piece is a feat of clever partnering and energetic contemporary phrase work that is intricate and challenging. In New York Live Arts' intimate space, we can see even the beads of sweat that drip off of the dancers' chins. Performing up close can be risky; but the Gibney dancers up close are perhaps even more remarkable than afar, as we witness in immediacy their precision, stamina, and dynamic performance. Gibney Company's “Up Close” program, which ran June 14-18, magnified the excellence of its dancers and introduced three thought-provoking world premieres.
Gustavo Ramírez Sansano's “To the End of Love” for Gibney Company. Photograph by Joseph DiGiovanna
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