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Peck’s piece, other than the fluid, lyrical costumes on the women (by Reid Bartelme and Harriet Jung).The title connotes a degree of sophistication, which, although the choreography is certainly sophisticated, is not the point of the ballet.Murphy and Raphael Bouchard, danced their roles superbly as well.It’s difficult to find anything “Debonair” about Mr.To be fair, “Tide Harmonic” may have been hampered in visual appearance by the small Joyce Theater space.But although a larger stage may have made the piece breathe, it wouldn’t have changed the choreography.The piece is brilliantly crafted and lovely to watch. Wheeldon alters the ‘standard’ cast, duet, cast, duet, cast format by varying the dancers involved in the ‘cast’ segments and allowing overlaps at various times.I concede that certain repetitive images are idiosyncratic (in view of the titular theme, perhaps certain pairings were intended to represent sea creatures? But this is what one would expect him or any other skilled choreographer to do, and aside from the central pas de deux, which was wonderfully (if somewhat stoically) danced by Elizabeth Murphy and Joshua Grant, it’s all standard Wheeldon stuff – which, granted, is at a higher level than much of what’s out there.
This western flavor and fresh-air quality is reflected in Mr. Indeed, from time to time the ballet kindled memories of Mr.
Around a semi-circle of lit floor lanterns spanning the mid stage area, pairs of dancers, clad in grey, stand in relative darkness.
Then one pair separates and moves downstage and explores their connection with no emotional gloss, primarily with staccato arm movements that frame their upper bodies, before eventually returning to the semi-circle.
As “Tide Harmonic” relied on speed and precision, “Memory Glow” relied on emotion – internalized as that emotion may generally be expressed.
But at times the dancing became somewhat more effusive, and the relationships between the dancers more complex.