April 19, 2004
DANCE REVIEW / LARRY KEIGWIN
Cherishing Outsiders With a Smile And a Shrug
Comedy is seldom thought of as art. But "Keigwin Kabaret" might change a few minds. In its latest presentation, in an hourlong program on Friday night at the welcoming little Thalia Theater at Symphony Space, Larry Keigwin's "kabaret" was a model of well-made dance that was as surprisingly poignant as it was hilarious.
Fifteen brief dances and burlesque numbers flew by in a seamless, stylishly produced flow, performed by a group of gifted eccentrics. Mr. Keigwin and Nicole Wolcott could certainly hold their own in a night of serious modern dance, particularly in his signature "straight duet," performed to an aria sung by Cecilia Bartoli. But it is hard to imagine other performers who could so subtly communicate the edgy blend of humor and sadness in this romp for an aroused female and a male partner whose covert reluctance suggests that he does not want to betray himself or her.
Mr. Keigwin clearly cherishes outsiders, but with a sweet-tempered shrug. In the show's opening and closing duets, set to the "Love Boat" theme, he dances with the larger Hilary Clark, but there is more going on than jokiness about that disparity. "Float," performed by Julian Barnett and Isadora Wolfe to music by Mum, begins as a puzzling and irredeemably weird-seeming bit of choreography but ends by offering a clear glimpse into its enticingly familiar world.
Bradford Scobie's brilliant Dr. Donut suggested Dame Edna after a sex-change operation. A self-described "female-female impersonator" known as the World Famous "Bob" performed an eloquent reverse striptease. The fine cast also included Kevin Scarpin, Jimmy Everett, Naoko Kikuchi and a hyperactive go-go dancer named Larissa Velez. Bring them all back to the Thalia, at least once a year, or bottle these guys.
Fifteen brief dances and burlesque numbers flew by in a seamless, stylishly produced flow, performed by a group of gifted eccentrics. Mr. Keigwin and Nicole Wolcott could certainly hold their own in a night of serious modern dance, particularly in his signature "straight duet," performed to an aria sung by Cecilia Bartoli. But it is hard to imagine other performers who could so subtly communicate the edgy blend of humor and sadness in this romp for an aroused female and a male partner whose covert reluctance suggests that he does not want to betray himself or her.
By JENNIFER DUNNING
THE NEW YORK TIMES