By David St. Lascaux
The Brooklyn Rail
...wide-ranging themes, techniques, and emotional impacts, (Cortier) treats the audience to ever-changing, ever-surprising, but mostly ever-delightful movements and moments... (She) took us to the primitive, private place we know subconsciously we want to be. Telling us that there is only dance, there is only being alive, there is only now, here, yes, muscle, blood, sweat, women dancing in the chiaroscuro of firelight on calves, en pointe, the flames blazing, sparks flying...the pianoforte perfect, the movements mercurially whipsawing from frisky to maudlin, the pseudo-melodrama hilarious...conjuring Gaugin’s flowers, stone
temples, the gift of food, the awakening of darkness, the Myriad Mysteries,
the Ritual of Life, the Ineffable Feminine, the Concept of Beauty—all the
things that dancing does, but words utterly fail to adequately express.
The audience, elated, was breathless...
To read the full review, visit the November 2009 issue of the Brooklyn Rail
temples, the gift of food, the awakening of darkness, the Myriad Mysteries,
the Ritual of Life, the Ineffable Feminine, the Concept of Beauty—all the
things that dancing does, but words utterly fail to adequately express.
The audience, elated, was breathless...
To read the full review, visit the November 2009 issue of the Brooklyn Rail
By Megan Kennedy
ExploreDance.com
...The variation in the five dances making up “Piano Pieces” was captivating. The initial pas de deux portrayed a sweet, honest relationship between the two dancers. The final two sections of “Piano Pieces” were especially memorable. The pas de trois played with traditional male/female partnering to reveal elegant, equal partnering between the two men and one woman. It gave the dance a unified, organic feel. The final duet contrasted with its playful nature. The two dancers engaged in highly entertaining, playful competition that provided a satisfying end to the series of dances.
“Billy’s Red Socks”, a new work by the company, continued the playful theme. The audience is transported into another realm as toys come to life. It was as though the audience was peering into a toy box at night with the lively imagination of a young child. The dancers frequently enter and exit the stage, seamlessly transferring the red socks from one person to another. This is a delightful addition to Eidolon’s repertory.
The latter portion of the night transitioned to more contemporary repertoire, opening with “Mana”. Spanning from a Hawaiian sunrise to sundown, the dancers illuminated the beauty and delicacy of nature. This piece was infused with influences of Hawaiian dance, particularly in the hand gestures, which added greatly to the artistry of the dance.
The final dance of the evening, “Dashpot” had dancers partially enclosed within spandex costumes. The limited mobility led to creative movement. At times the amorphous bodies took on shapes that seemed bird-like. The creativity and diversity of movement within the confines of the costumes was remarkable – the perfect ending to a wonderful evening of dance.
“Billy’s Red Socks”, a new work by the company, continued the playful theme. The audience is transported into another realm as toys come to life. It was as though the audience was peering into a toy box at night with the lively imagination of a young child. The dancers frequently enter and exit the stage, seamlessly transferring the red socks from one person to another. This is a delightful addition to Eidolon’s repertory.
The latter portion of the night transitioned to more contemporary repertoire, opening with “Mana”. Spanning from a Hawaiian sunrise to sundown, the dancers illuminated the beauty and delicacy of nature. This piece was infused with influences of Hawaiian dance, particularly in the hand gestures, which added greatly to the artistry of the dance.
The final dance of the evening, “Dashpot” had dancers partially enclosed within spandex costumes. The limited mobility led to creative movement. At times the amorphous bodies took on shapes that seemed bird-like. The creativity and diversity of movement within the confines of the costumes was remarkable – the perfect ending to a wonderful evening of dance.
By Philip Dorian
The Two River Times
effective movement…very good choreography.
By Melissa Rodnon, Program Director
Williamsburg Art Nexus
unique, innate talent, intelligence, fearless creativity, a sense of whimsy and generous heart.
By Wendy Amos
Dance Theater of Harlem Alumna and Alvin Ailey Faculty Member
...choreography just really showed off everyone’s talent . . . . It was absolutely extraordinary . . .