Close encounters - Page 2

Local and visiting companies explore darkness and light


AfterLight opened with a solo for Thomasin Gülgeç, spinning as if on a turntable while his arms reached into the darkness around him. At the end we returned to that solitary figure that, instead of opening his body to an enlarging consciousness, shuts down into solitary whirls. In part two, the white-clad Silvina Cortés and Gemma Nixon's gentle liquidity could have come from Isadora Duncan dancers.

Maliphant's choreography has no hard edges; its performers spiraled, curled, and spun from one evanescent moment to the next. Sometimes this felt like watching smoke, except that these dancers were anchored in a deep-grounded muscularity that allowed them to connect into an endless stream of rounded shapes. In the first pas de deux, Gülgeç and Nixon's weighty folding over each other wonderfully recalled Leon Bakst's illustrations of Scheherazade. Though conceptually intriguing, AfterLight turned out to be a one-shot deal; whether there is more meat to this choreographer remains to be seen.

Related articles

  • Movers/Shakers: Two rare visits by European contemporary dance-makers this weekend

  • Goldies 2014 Lifetime Achievement: Sara Shelton Mann

    An iconoclast who has performed to great acclaim and inspired others for decades

  • Goldies 2014 Performance: SALTA

    Unique performance group driven by collaboration and a creative sense of place

  • Also from this author

  • Natural selection

    ODC/Dance unearths the Goldsworthy-inspired 'boulders and bones'

  • East Bay grace

    Diablo Ballet celebrates its 20th anniversary

  • Branching out

    Blind Tiger Society self-produces its intriguing ODC Theater debut