Gibney Company premieres Tiffany Tregarthen and David Raymond’s work at the Joyce, but it falls short of enhancing their repertoire..
In 2023, the dance world seeks a reinvented company that can nourish its artistic appetite and push the boundaries of contemporary dance. Gibney Company, led by founder and artistic director Gina Gibney, aims to fulfill this need with its unique approach and artistic vision. Drawing inspiration from renowned repertory companies like Nederlands Dans Theater and Ballet BC, Gibney Company strives to create emotionally charged works that blur the lines between bodies and emotions, resulting in a transformative experience.
During their recent return to the Joyce Theater in Manhattan, Gibney Company presented a program that, despite some technical issues, showcased their commitment to innovative and thought-provoking dance. The evening featured three works, including the commission “Ghost Town” by Tiffany Tregarthen and David Raymond from Out Innerspace Dance Theater.
“Ghost Town” unfolded with an atmospheric start, as the dancers emerged slowly from the stage’s shadows, forming clusters and shifting with rhythmic intensity. The piece evoked a sense of impending apocalypse, reflected in the lighting design’s geometric shapes and cavelike chambers. Although “Ghost Town” evolved into a lively dance party, it primarily functioned as a light installation with dancers as the focal point, lacking choreographic depth.
Another notable piece, “Sara” by Sharon Eyal and Gai Behar, originally created for Nederlands Dans Theater, explored the stripping of individual identities through costuming. The performers, clad in sleek black unitards, moved from stillness to increasingly intense bodily expressions. While “Sara” aimed to present a peculiar and enigmatic atmosphere, it felt more derivative than truly groundbreaking, resembling works by Batsheva Dance Company, where Eyal danced previously.
Contrasting with “Sara,” Johan Inger’s “Bliss” offered a sunnier perspective. Set to Keith Jarrett’s “Köln Concert,” the ensemble piece portrayed a playful reaction to the music. Dancers engaged in duets and group sequences, displaying dynamic shifts in partnering. Although the choreography didn’t fully match the virtuosity of the music, it embraced a lighter touch, almost as if the notes themselves were delicate gauze.
Ultimately, “Bliss” fell short of capturing the euphoria promised by its title. The piece lacked the transformative energy and ecstatic climax that could have elevated it to a higher level of artistic expression. Nonetheless, Gibney Company’s exploration of different styles and willingness to commission international works demonstrates their commitment to pushing the boundaries of contemporary dance.
In an ever-evolving dance landscape, Gibney Company strives to nourish the dance world by presenting innovative and emotionally charged performances. While their recent program had its ups and downs, the company’s vision and commitment to experimentation are commendable. As Gibney Company continues to evolve and refine their artistic voice, they have the potential to make a significant impact on the contemporary dance scene, offering fresh perspectives and captivating experiences for audiences in the years to come.
News Source: