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Tom Gold Dance at the Gerald Lynch Theater….

March 19, 2013
Tom Gold Dance Photo by Eugene Gologursky

Tom Gold Dance Photo by Eugene Gologursky

I have long wanted to see Tom Gold Dance in performance. I have been reading rave reviews of their successful tours of Spain and Cuba, in which he was praised for his innovative approach to the classical vocabulary. On March 12th and 13th Tom Gold Dance performed five works from Mr. Gold’s repertory using some of the most talented dancers in New York City AND with live music. The evening was fully complemented by Susan Waters on piano and Violinist Siwoo Kim.

The first piece of the evening was Fauré Fantasy, a classically contemporary work set to the music of Gabriel Fauré. Tom Gold was a soloist with New York City Ballet for many years so it is unsurprising that his choreographic style is influenced by Balanchine with a splash of Jerome Robbins.

No matter how much modern, contemporary or deconstructed choreography I see it will never affect my love for purely classical technique and the simplicity of its beauty. Kirsten Segin embodied everything I love about classical dancing, purity of line combined with faultless technique. The moment she stepped on stage my spirit was lifted and I felt a natural joy in my heart.

Tom Gold Dance Photo by Eugene Gologursky

Tom Gold Dance Photo by Eugene Gologursky

Ms. Segin moved with an intrinsic lyricism that fully complements every step she took on stage. Dressed in a confection of pink and white Degas-ish tutu, she flowed from one movement to the next.

Mr. Gold’s talent lies in his approach to movement and the way he combines classical vocabulary. He sees dance, as Balanchine or Neumier, as a way to innovate and explore the boundaries of classical dance, pushing the envelope in a manner that is true to the fundamentals of the technique.

Utilizing the music of George Gershwin, Tom Gold’s Gershwin Preludes was witty and a little tongue-in-cheek with a seeming nod to Balanchine’s Who Cares. The natural lyricism of movement that is the hallmark of Mr. Gold’s choreography is ever present in his Gershwin Preludes. ABT’s Luciana Paris and former NYCB principal dancer Stephen Hanna swirled around each other in fast moves and intricate foot work. Much as Balanchine’s focus in upon the woman in his duets, Ms. Paris is the focus of this duet; her body is molded and shaped with great care by Mr. Hanna. But where Balanchine’s work was created in 1970, Gershwin Preludes has a feel that is current and is more of the moment.

Sara Mearns, Andrew Scordato & Devin Alberda in Tom Gold’s La Plage, Photo by Eugene Gologursky

Sara Mearns, Andrew Scordato & Devin Alberda in Tom Gold’s La Plage, Photo by Eugene Gologursky

Of highlight in the night’s performances was the World Premiere of La Plage with music by John Zorn. The work opens mysteriously as Sara Mearns, Andrew Scordato and Devin Alberda stand one behind the other as each move their arms and then their leg to varying heights. I am reminded of the Hindu Gods Vishnu or Durga, each with multiple limbs for multiple purposes.

John Zorn’s score in itself has a mystery as well, with sounds of the Rain Forest, birds and the waves mixed in. These were alined with projected images of flowing water and the Rain Forest steeped in shadows.

Adrian Danchig-Waring, Devin Alberda and Andrew Scordato, were brilliant. Clad in little more than the imagination wearing scandalizing nude briefs (…but who I am to complain…) the men were virile. Leaping and turning with abandon.

The women, Marika Anderson, Likolani Brown, Kristen Segin and Gretchen Smith wore nude colored tunics that flowed around them with life. Their artistry was unquestionable as they moved with upmost grace.

Tom Gold in his solo performance of The Graceful Ghost. Photo by Eugene Gologursky

Tom Gold in his solo performance of The Graceful Ghost. Photo by Eugene Gologursky

Sara Mearns and Adrian Danchig-Waring duet possessed a primal passion, seemingly drawn to one another. Their chemistry was magic…and it is no secret that I would go watch Adrian Danchig-Waring dance anywhere…I think he is awesome. If I see his name in the rooster of dancers performing I then know it’s something worth seeing. Truly he is one of the best male dancers on the NYC dance scene, period.

Tom Gold’s solo performance of The Graceful Ghost illustrated the craft and artistry of just not Mr. Gold but his choreography as well. Mr. Gold’s choreography is lyrical and musical because he is a lyrical and musical dancer.

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