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Austin360 blogs > Austin Arts: Seeing Things > Archives > 2009 > April > 18
Saturday, April 18, 2009
Review: Diavlolo
The dancers of L.A.-based Diavolo maintained their status as the American gladiators of the performing arts world Friday at the Paramount Theatre. Diavolo shows function somewhat formulaically: a large built structure sits center stage and extremely strong dancers pull themselves across, over, and through the object.
Friday dancers climbed a giant set of stairs in “Tete En L’Air,,” tumbled through a jungle gym cube in “Caged,” mounted a wall with large pegs in “D2R-A,” and rode a giant rocking shell of a boat in “Trajectoire.” Artistic director Jacques Heim and the dancers who help him choreograph these giant spectacles have a gift for manipulating a sense of danger through each piece. Even once the choreographic formula becomes familiar, a sudden fall or a slow slide across a capsizing platform is gasp-inducing.
Program opener “Tete” offers the most sense of story. A series of anonymous, trench-coat clad, fedora-topped figures walk down a gigantic staircase. As John Adams’ music gains momentum, the figures speed up, running and rolling down the steps and sometimes each other. Clothes come off and come undone, as dancers leap into and out of the stairs’ hidden compartments. The stairs’ transformation furthers the piece’s urban references. What was one a passageway now functions as an apartment-filled skyscraper.
But even as “Tete” grows to harried chaos, the dancers work together perfectly. The program hails the dancers’ varied backgrounds from gymnastics to acting, but says the company must be “always teammates.” That cooperation may be what makes the choreography’s sense of danger so appealing, almost heart-warming.
In the final moments of “Trajectoire,” one woman performs on top of the rocking boat’s platform, titled at a sharp angle. The audience can see the structure’s underbelly, where the other eight dancers rest shoulder to shoulder inside, their bodies’ weight holding the structure still. She can move, because other people can hold her.
Clare Croft is an American-Statesman freelance dance critic.
