Saba Dance Theater consisted of Saba, a former Martha Graham dancer, leading a group of women loosely referred to as dancers through a rigmarole of choreography that added up to a zero at best. It seemed as if the French-born Saba envisions himself a combination of Charles Aznavour, Patrick Dupond, and Claude Debussy. He sang, danced, choreographed, composed music, and designed the hateful costumes, each more unflattering than the next. He also projected an attitude that speaks of how lucky one is to share his space and observe his art.
The program listed approximately 16 pieces; in addition, there was a peculiar 10-minute intermission during which the company jogged around the stage while the house lights were up clad in T-shirts that read "I Love NY." Whatever happened to a restroom visit or a drink of water? Both were a respite greatly needed but not forthcoming. Instead, the house lights dimmed and the program continued. An unconscionable Saba solo (titled "Moi") involved a tricky video installation (a picture of himself) encased in a three-dimensional frame; the accompanying florid program notes referred to "the passage to acceptance of one's self" -- all of which seemed totally beyond comprehension. However, if one wanted a closer view of Saba, the framed projection was on display at the reception following the performance.
Missing in Saba Dance Theater was dance vocabulary. Stretching a leg up to a nose and holding it is not original, nor was anything more unique trotted out of his Rolodex of choreography. The evening came off as a study in self-indulgence. Near the end, a quartet of women wrapped in yards of red fabric pulled and stretched beneath it to the ballet music from the ballroom scene in Prokofiev's "Romeo and Juliet." Despite the heady program notes, using that music was the ultimate chutzpah. The French Institute Alliance Franรงaise has promoted such gifted French choreographers as Pascal Rioult, Philippe Genty, and Lionel Hoche. One expected a classier evening from this venerable institution. Had the performers not led the applause from the stage, the silence in the auditorium would have been deafening.