"exceptional skill and sensitivity"

July 24, 2002 performance reviewed by Connell McGrath

Gestures of intimacy and social interaction, jiggling epileptic movement next to graceful balletic sweeps, small women hoisting big men. These juxtapositions characterized the performance of the Bill T. Jones/Arnie Zane Dance Company at Jacob's Pillow.

The Company performed four pieces, most of them from 2002, some to the exquisite live music of the string ensemble Concertante.

The highlight of the evening was Blauvelt Mountain (A Fiction) (Revival—2002). Choreographed by Bill T. Jones, this piece was originally danced in 1980 by Jones and the co-founder of the Company, Arnie Zane.

Tonight, it was danced by Malcolm Low and Wen-Cung Lin, with exceptional skill and sensitivity, much needed in this piece. Lasting some 35 minutes, it was a set of movements repeated a number of times with different cadence, speed and emotional intensity. Synthesizer music was performed live by Helen Thorington, the composer.

Essentially, Blauvelt Mountain is a study of intimate gesture, or the gestures made in intimate relationships, and the interaction between an intimate couple and the outside world. It is no coincidence that both dancers are men, as much of the subtext is about the social taboo of homosexuality and the unease gays may feel being "out" in the world.

The piece begins with both dancers seated in darkness with backs to the audience. One dancer's arm slowly emerges into a spotlight behind him, and comes to rest—in darkness again—on the other's shoulder. The dancers will execute sometimes complicated, sometimes mundane, movements, and then look at the audience as if caught publicly completing a private, personal act. Sometimes the movements do seem personal, while at other times they have no particular meaning. The most charged aspect of Blauvelt is this interplay between performance and intimacy, private and public.

It is not only a comment on homosexuality and the (at times and in certain places) necessity to "keep it private," but it has a more universal meaning about privacy in general. What is private? What should be private? What can be seen by others in a public space?

Blauvelt was the triumph of the evening, and well-received by this audience. It was indeed a gift given to the Pillow by this company on the Pillow's 70th birthday.

After many visits to Pillow performances, one element that becomes increasingly frustrating is part of the audience's bolting from their seats and running for the door just as the dancers begin their curtain call. This "running ovation" is an insult to the artists, and embarrassing to those of the audience who stay to express their appreciation for the dancers. It happens at every performance, and certainly Jacob's Pillow is not the only place to experience such inconsiderate behavior from part of the audience, but the effect of it in such a small venue is quite noticeable.