The New York Baroque Dance Company appeared in three performances at the French Institute/Alliance Français' Florence Gould Hall from Sept. 10-12 in a program that consisted of three pieces: "Dances of the Commedia dell'Arte," "Danses Nobles," and "L'Amour en Saltinbanque."
The first featured new choreography by Artistic Director Catherine Turocy and members of the company based on Gregorio Lambranzi's 1716 publication "The New and Curious School of Theatrical Dancing," including classic characters from the Italian commedia dell'arte such as Scaramouche, Harlequin, and Columbine. "Danses Nobles" is a series of florid reflections, stylized as if recreated from the French courts. "L'Amour en Saltinbanque" had choreography by Guillaume-Louis Pécour from "Les Fêtes Vénitiennes," an opera composed by André Campra, reconstructed by the performers under Turocy's direction.
After a parade of characters in "Dances of the Commedia dell'Arte," including "Chaconne for Harlequin," performed by Caroline Copeland, and "Sarabande for Columbine," danced by Sarah Edgar, abundant fun commenced with "The Blindfolded Juggler," danced by Turocy.
With a mask placed on the back of her head adding to the provocation, she managed to send three veils floating into the air and skillfully floated them around, displaying tongue-in-cheek vitality, however tricky.
Copeland and Timothy Wilson brought undiminished farce into the picture with "The Plate Dance." They seemed content at first to be eating from their own dishes, but they soon commenced stealing food from each other and ended up on the floor in their drive to fight, almost giving the appearance of two cats struggling to obtain every morsel.
A touch of mystery ensued with "The Magician and the Gypsy." Ani Udovicki displayed glamour and exceptionally serpentine arms when she appeared in seductive mien. The magician, portrayed by Wilson, came on waving his wand, and she was immediately under his control, acting like an automaton. When he released her from his power, they concluded their attraction in a vibrant dance.
"Scaramouche," a solo danced by Seth Williams throughout which he crushed his body to resemble a dwarf, resulted in a display of flawless balance as well as extensive humor.
"The Peasant in a Basket," danced by Turocy, gave the illusion of two people: one seemingly bent over, carrying the peasant in a basket on her back, and one comfortably ensconced in the basket with arms flailing about. Actually, the peasant carried about is the motivating one. The figure in front is a dummy being carried by the dancer in the basket. This one had to be seen to be believed, and left one wondering how Turocy managed to achieve her fantastic illusions.
"The Tennis Dance," with Williams, Wilson, and Turocy, took on the idiosyncrasies of the individual players and of the game generally, with mighty tickling results.
Udovicki in "The Three-Legged Dance" rivaled "The Peasant in the Basket" where fantastic illusions are concerned. She obviously had an appendage attached that managed to stay focused with her own legs, despite the intricate twists, turns, and jumps involved, with sidesplitting effects.
"Danses Nobles," which began the second half of the program, was made up of "Aimable Vainqueur," reconstructed by Copeland and danced by her and Wilson; "Sarabande," reconstructed and performed by Edgar; "Menuet: Dans nos Bois," performed by Edgar and Williams; and "Passacaille d'Armide," danced by Patricia Beaman and reconstructed by Alan Tjaarda Jones. All were recreated with a dreamlike elegance and litheness.
Throughout "Dances of the Commedia dell'Arte" and "Danses Nobles," we were constantly challenged into gaining views of how certain movements from the Baroque era originated and eventually wove their way into ballet. This in itself was a fascinating process.
The concluding "L'Amour en Saltinbanque" ("Cantata" from "Les Fêtes Vénitiennes," Acte II, 1710) saw singer Ava Pine as Amour, Jason Melms as Harlequin, Turocy as Pierrot, Edgar and Copeland as Venetian Ladies, and Williams and Wilson as Venetian Gentlemen.
Singer Pine, in the pivotal role of Amour, may very well have commenced life as a dancer, for she moved beautifully while singing and really knew how to utilize her arms eloquently, so that throughout the complex French text and English translation, the narrative managed to surface.
As for the plot: Amour arrives at the Piazza San Marco in Venice disguised as a traveling player to inspire love in the new, degraded times. Amour brings a pervading atmosphere of optimism where love is concerned, despite her concluding arietta, which proclaims: "Faithful lovers are no longer in style/Love accommodates himself to today's decline/A little constraint, a complaisant heart/A faint flame will suffice for the moment." To which we can only conclude that the more times change, the more they remain the same. Just look at today's headlines and read the legion of gossip columnists.
Everything fused to form a sparkling program, including the knowledgeable, perspicacious dancer-choreographers; the Concert Royal musicians playing Baroque instruments (Sandra Miller, Cynthia Roberts, Judson Griffin, David Miller, Alissa Smith, and Christine Gummere, led by James Richman, Concert Royal's artistic director and harpsichordist); costume designers Marie Anne Chiment, Marilyn Skow, and Mary Meyers; and lighting designer Chenault Spence.
Artistic Director Catherine Turocy, who founded the company in 1976 with Ann Jacoby, can take pride in the historical radiance achieved by all its members.