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To wrap-up his company's 25th Anniversary, Stephen Petronio is presenting a range of works at The Joyce Theater now through May 2. With one piece from '86, two from the '90s, and two from this decade, the show gives an ideal overview of how Petronio started, where he's been since, and what he sees for the future. The selection of pieces was just what the dance doctor ordered.
In the opener, #3 (1986), Petronio performed solo in an unraveling tux get-up. He not only demonstrated his talent with building complicated, intricate, and lush phrases, but also showcased his amazing ability to perform. Petronio's focus is clear; he commits with a generous honesty and is a pleasure to watch. Here, Petronio takes less than five steps, twists and bends the upper body while looping precise arm gestures. Each delicate, purposeful move is sprinkled with subtle shakes and shivers seen in the hands and fingertips. It's understood, this is how he made his initial mark in the community.
The next piece, Middlesexgorge (1990), displays why he has carved an imperative and respected role in American modern dance history. To start, it is the perfect example of his reputation for wonderfully strong and daring collaborations within music and costume. Beyond these elements, his sexually charged, full-bodied, movement style is at its best here; arms in beautiful lines, bodies in hunched over fouetté turns, quick changes in directions lead by any part of the body be it the pelvis, head, or foot. Each consecutive section of Middlesexgorge gains more momentum, heat, and virtuosity. Equally charged as the movement, questions of style, gender roles, expression, and power/control explode all over the stage. With the men in tight corsets and flower-pedaled leggings and the women in black leotards, every element evokes complete originality and confidence - considering this all was first seen in the early '90s is inspiring and telling of what Petronio set out and continues to do - challenge, create, and instigate. However, over the past couple years, there have been a few of his shows that I felt these elements were over-produced and at times, trite. With Middlesexgorge, everything is balanced, he was not trying to be overly sexy or showy - it was just the right amount of eye-opening evocation.
Foreign Import (2007) is exactly the kind of piece that I have seen a couple times from Petronio where themes are too obvious, lacking a sense of mystery and sincerity. Having said that, I was very pleased when the last piece of the evening, a World Premiere of Ghostown, reeled me back in, and did so in the more discreet, "'90s Petronio," kind of way. All the elements were dead on; entrances and exits that balanced poses with tide-like flocking, flowing veils and draped linens over dual-colored spandex by Jillian Lewis, and an atmosphere wrought with steam and some kind of underlying, festering coup, demanded fascination and curiosity. Of course, the music of Jonny Greenwood perfectly complimented this anxious decay. Ghostown was the perfect end to a 25th Anniversary presentation.
I urge everyone to go see this show! Go see how Stephen Petronio danced his way into the history books and why he continues to evoke the brain and tease the body. And as always, visit Destination Chelsea for the best culture NYC has to offer, such as The Joyce Theater! Go here for tickets and more info.
Photo Credit: Ghostown by Stephen Petronio, Shila Julian