Alonzo King LINES Ballet dancers (l to r) Jeffrey Van Sciver, David Harvey, Robb Beresford, Meredith Webster and Michael Montgomery perform in WRITING GROUND (Photo: Margo Moritz)
This fall, Alonzo King puts his sleek, sinuous stamp on Bach’s Double Violin Concerto, with witty nods to predecessors George Balanchine and Paul Taylor.
The result is sheer, sensual delight. At the close, however, there is a nagging sense of loose ends to King’s Concerto, of a concept that simply trails off.
Concerto was followed by the American première of Writing Ground, set to sacred music from Jewish, Muslim, Buddhist and Christian traditions. King’s choice of score promotes the notion of dance as a bridge of empathy between languages and religious traditions. It is an ambitious task, one that seems to be only tentatively explored in the choreography. Perhaps we are just too distracted by the physical beauty of the dancers and their movement.
Alonzo King LINES Ballet dancers Robb Beresford and Kara Wilkes perform in Writing Ground (Photo: Margo Moritz)
Alonzo King’s dancers move like jungle cats, their extraordinary, lithe and sinewy physiques accentuated by fetching variations on lingerie designed by King’s longtime collaborator Robert Rosenwasser and bathed in golden lighting by another longtime collaborator, Axel Morgenthaler.
– More in our full review on BACHTRACK. –
