Mark Howard, founder and artistic director of Chicago's Trinity Irish Dance Company, has claimed that his group features "progressive Irish dance." In Trinity's recent New York City debut at The Joyce Theater, two numbers offered--"The Mist" and The Mollies--do fall into that category. As for the rest, we saw good old Irish step dancing, quite a bit of it in thrilling competitive form.
Influences of American modern dance are most penetrating in the aforementioned works. In "The Mist" we see the dancers enveloped in deep fog, like ancestral spirits rising out of the sea, or figures out of timeless myths. When the mist fades and the lights come up, the dancers perform in intricate circles alternating with square formations. They have become the living, modern embodiment of ancient specters.
The most ambitious work, The Mollies, is a world premiere, choreographed by Mark Howard and Brian Jeffery. This lengthy piece is in three parts: "Schuykill County," "Irish Eyes," and "The Ancient Order."
To escape the Great Famine, Irish refugees moved to the mining area of Pennsylvania. Searching for a better life, they found they were no better off in America than in the land they had left. Not only were their surroundings and work grim, but they met with hounding and prejudice.
In the initial stages we view the miners going into the depths and their vigorous movements as they extract coal. It is the "Irish Eyes" scene that is fraught with irony, as the beautiful tenor voice (possibly a recording by the great John McCormick), is heard rendering the song "When Irish Eyes Are Smiling," while a young girl is being stomped upon by hoodlums. "The Ancient Order," by comparison, seems a rather mild conclusion.
A variety of the step dancing from which much of our own country clog and eventual tap forms have been derived constituted the bulk of the program. We were tickled by "Blackthorn,' as well as the program note, to wit: "The original steps of 'Blackthorn' represent the rhythmic soul that permeates all Irish dance and besides, it helps facilitate a much-needed costume change at this point in the program." Patricia Mahon, Michaela McGarry, Natalie Prokopij, Sheila Ryan, and Katie Shaughnessy were the sparkling coleens, treading briskly.
"Step About" and "Just Shannon" saw the company in competitive spirit, displaying countless jigs, extensive leaps, and complicated, twisting footwork with the upper torso remaining, traditionally, mainly immobile.
"Bansidhe," performed by tiny soloist Rebecca Cissne, and choreographed by Ginger Farley and Mark Howard, featured numerous toe holds, which have also become a favored step with our own "tapsters," including Savion Glover and Jimmy Tate.
With "Treble Jig"--performed by Patricia Mahon, Deirdre Mahoney, and Darren Smith--came searing excitement. Smith, the company's lead male dancer, became the 1997 World Irish Dancing Champion in Galway, Ireland, last April. He is also a seven-time North American Champion and an eight-time Canadian Champion. Little wonder to, when you see, in addition to formidable technique, his bubbling personality and a grin that could melt the Blarney Stone. He moves so swiftly, you almost begin to think that his legs are lightning rods rather than body parts. With all this, not a single cadence is lost.
Of "The Dawn" the program notes tell us: "At the dawn of May, a platoon of tall, beautiful women landed on Irish shores. Warriors all they had come from Spain."
Don't go to this one believing that you are about to witness how Celtic dance influenced Flamenco or the other way around. What we saw in "Dawn" was some fine precision dancing by the ladies that could give the illusion of Irish Rockettes.
What a suitable title Mark Howard chose for the concluding piece: "Celtic Thunder." led by Darren Smith, the company and pulled out every Celtic step in the book. The variety of ankle-breaking twists in itself would win further acclaim for champion Smith and the troupe.
Trinity Irish Dance Company performed at The Joyce Theater, Aug. 11-16.
Sheer "Bliss"
We are told that "anything goes in 'The Marital Bliss of Francis and Maxine,' a full-length musical by the Fay Simpson Dance Theatre." Featuring a dizzying, dazzling return to the radio days of the roaring 20s, "this gender-bending dance-narrative" introduces us to Francis and Maxine, "famous radio personas singing romance over the airwaves. To broaden their appeal, they plan to wed over the air. The intrigue begins when we follow the unlikely pair to a back-alley gin joint in Harlem, where their true identity is revealed in the ambiance of gay love."
Venue: Ohio Theater, 66 Wooster St., between Spring and Broome streets., NYC. Performances: Sept. 4-5, 8 pm; Sept. 6, 3 and 8 pm; Sept. 7, 3 pm; Sept. 10-12, 8 pm; Sept. 13, 3 and 8 pm; Sept. 14, 3 pm. Tickets: $10. Reservations: (212) 665-8223.
Music Fest Celebrates India's 50th
On Sept. 13, "The Music Festival of India" gathers for the first time on one stage some of the most renowned and respected exponents of India's classical music and dance. This gala event--at Carnegie Hall at 8 pm--is presented by World Music Institute and Asia Society, to celebrate the 50th anniversary of Indian independence. Tickets: $20-$200, from CarnegieCharge, (212) 247-7800. World Music Institute and Asia Society members may call (212) 545-7536.
Multimedia Fest Celebrates Downtown
Billed as the fall art season's launch event, the fifth annual Downtown Arts Festival takes place Sept. 11-21. Showcased will be New York's downtown visual art, music, dance, theatre, poetry, fiction, film, video, and digital media in more than 350 performances, exhibitions, and special presentations.
This year the fest has expanded into a multidisciplinary arts celebration involving more than 350 galleries, alternative spaces, museums, performance groups, theatres, and independent artists throughout Chelsea, the East and West Village, Soho, Tribeca, and Wall Street.
The dance portion features over 150 choreographers and dance companies, presenting a wide variety of styles. Performance venues include galleries, gyms, and theatres. The Great Hall at Cooper Union will be the site of Dance Now's inaugural performances. A special "Meet the Artist" series, curated and directed by Robin Staff and Tamara Greenfield, will introduce established and emerging dancers in public lectures and performances. Information centers--prominently located in Chelsea, the East Village, and Soho--will provide festival visitors with programs, general information, community service information, and opportunities to buy the Performance Passport. q
Two hundred and fifty thousand copies of an 11' x 9', 32-page, four-color festival program are being distributed to all festival locations, and to visitors' centers and hotels throughout New York City. "Simon Says," a guide to the visual and performing arts, will be distributed to downtown galleries, theatres, shops, and restaurants, and inserted in the Village Voice.