Having experienced Dance Kaleidoscope’s “America, the Modern” last night, I’m going to take advantage of the blog bully pulpit and strongly encourage you to get to any of the remaining three performances.
I’m not doing this out of a desire to help DK. As consistently strong as the company is—and as vital to the Indy arts scene as it is—such reasoning would put me on dangerous ground. As soon as a critic starts recommending work because it’s good for the organization, then esthetic judgment starts heading for the window.
And I’m not pushing you to go because tickets have been reduced to $20—and day-of-show tickets Sunday are an absurdly low $10. We also have to be careful about comments being strongly influenced by cost. After all, what's very affordable to some is a barrier to others.
No, I’m urging you to go because, in a town of knee-jerk standing ovations, I can't recall one being as enthusiastically offered--by me and the rest of last night's half-full crowd at the IRT.
I'm taking this initiative because, if you are a newcomer, you are very likely to become a fan of contemporary dance before the first piece, Cynthia Pratt’s stunning “Dreams, Converging” is through.
I’m saying it because David Hochoy’s “iconoGlass” is the best showcase I’ve yet seen for the grace, style and personality of his very strong company of dancers. There's no forced narrative. No ego or hierarchical attitude from the dancers. Just enormously satisfying, compelling movement set to music.
And I'm commenting early because the entire program is impeccably staged (okay, except for one very unfortunate costume choice--but what's a DK show without at least one awkward wardrobe element?).
I see one of the key elements of my job here as encouraging excellence. And, when I find it, encouraging you to experience it.
And I look forward to reading your thoughts here or on my You-review-it Monday post.