ODC’s Summer Sampler, August 11

16 Aug

ODC’s Summer Sampler, this single day, two performance event at ODC’s Theater on 17th Street in San Francisco also marked the farewell performances of Daniel Santos, the Philippine-born artist who is leaving the company after a decade of performance.  In the scale of the company’s performers Santos  has been a bona fide successor to the likes of  Kevin Ware, Robert Moses, Brian Fisher, Brandon “Private” Freeman.  To the eternal credit of Brenda Way and K. T. Nelson, they have  reveled in diversity of sizes, shapes and ethnicity that their work has attracted, along with the company practice of year-round salaries and health insurance.  And at the 4 p.m. performance, Santos danced evidence of the male lineage and contribution to this remarkable ensemble.

Premiered this spring K. T. Nelson’s Cut Out Guy with costumes from ODC’s wardrobe, lighting by Dave Robertson, and almost unendurable sound by Ben Frost, the five company men gave us a portrait of men tussling, sometimes friendly, sometimes menacing, all exploring limits, hoisting, hurtling against each other either frontally or from the back, raised on collective or a set of single shoulders.  The explosion, the projection of bodies was simultaneously exciting and alarming, yet the momentary resolution of Olympic like leaps was extraordinarily beautiful. Particularly riveting was the pas de deux between Daniel Santos and Jeremy Smith.  The other remarkable dances were Dennis Adams, Justin Andrews and Corey Brady.

After a brief pause, Brenda Way’s 2008 Unintended Consequences, lighted by Alexander V. Nichols, used music by Laurie Anderson and costumes designed by the choreographer.  The music  bothered  me and following the impact of the first work, I found myself dosing, so I can’t comment on its content.

Another pause before Parts I and II of Way’s 2006 Part Of A Longer Story with the men in white shirts and trousers and the women in Way’s varied costumes of black dancing to Mozart’s Clarinet in A Major, K. 622. This is one of Way’s most balletically inflected pieces, the men and women entering and exiting as a group singly and together, not tied to classical movements, but definitely reflecting the influence and structure.

It was Part II, the duet between Vaness Theissen and Daniel Santos, that capped the program with Brenda Way’s distinct  graciousness and style in honoring a colleague .  The next to the last performance of Santos with the company, it was ever so much more.  Rarely, rarely, rarely, have I seen relationship between a man and a woman so marvelously captured within a classically-based structure.  None of your multiple pirouettes or sustained promenades, if you please.  A few positions  might be considered first cousin to a fish dive in the way Theissen was caught in front, rather than Santos’ side or the gestures and the slow process to connection one sees in a balletic encounter.   Way’s style of joining them and the physical conversation between was a masterful connection of gesture and musical phrase; her contrast, asymmetrical to Mozart’s aural structure, conveyed so much of Santos’ full-hearted desire against Theissen’s appraising restraint.  Duet and dancers quite honestly moved me to tears.

Any two dancers wanting pas de deux with a challenge and a blessing to present for special occasions, get in touch with Brenda Way for permission to perform Part II of Part of a Longer Story.  They won’t ever regret it.

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