ANNA SOKOLOW WAY
December 10, 2013
The gala evening of the Sokolow Theatre/Dance Ensemble and From the Horse’s Mouth’s recent residency at the 14th Street Y featured both programs from the run – the part-storytelling, part-chance-operated From the Horse’s Mouth (from which the company gets its name), followed by Anna Sokolow Way, a pastiche of several works from the late choreographer’s career.
Among the pieces sampled in the anthology work were Ellis Island (1976), Kaddish (1945), Frida (1998), Dreams (1961) and Session for Six (1958). Perhaps best were the highlights from Magritte, Magritte (1970) – a work rife with Beckettian slapstick, which featured Sokolow at her most absurd and charming. Even in her more demonstrative, serious work – there is something compelling in Sokolow’s severity, her demands on dance, and her belief her work could further her ideas of social justice.
An unexpected and fascinating aspect of the gala performances was witnessing various motifs and movements resurface throughout the night, as the pieces appeared to be in dialogue with each other. Although a heartfelt tribute to a beloved figure in modern dance – and legend to Juilliard actors and dancers alike, both From the Horse’s Mouth and Anna Sokolow Way offer only fragments of Sokolow’s vision. However, these scattershot allusions do an admirable job of presenting many facets of a unique choreographer and polemicist.
EYE ON THE ARTS, NY – Geoffrey Lokke