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Boston Globe
26-06-2025
- Entertainment
- Boston Globe
Opening Jacob's Pillow's season, Dorrance Dance stays true to the beat
Advertisement The stern yet buoyant Tomoe 'Beasty' Carr rotates her forearms with speedy precision; Fritzlyn Hector circles her arms, offers the audience her palms; Zakhele 'Bboy Swazi' Grabowski's handstand is more stable than funding for the arts. With fast feet, bent knees, and heavy arms, each dancer in the ensemble moves through and around the rhythm of composer Donovan Dorrance's score and John Angeles's live percussion, making visible the syncopated, polyrhythmic interplay between motion and sound. (Angeles and Michelle Dorance share roots in the percussion sensation 'Stomp.') "The Center Will Not Hold" at Jacob's Pillow Dance Festival 2025. Christopher Duggan Photography A downcast square of light illuminates Dorrance and Asherie centerstage. They grasp hands but look away; they adjust their black cropped blazers rocking back on one leg; they look toward each other, but find no recognition in the other's eyes. Advertisement Behind them, three more pairs of dancers are revealed in similar dress. The swing of a knee, touch of a foot, and pulsing lift of the torso echoes quickly from one partner to the next with syncopated precision. Some of the best moments are when Angeles performs from inside and among the dancers onstage; he wears a snare drum holstered around his neck, which he beats insistently, twirling his drumsticks for a flourish. His punctilious and insistent rhythms are a worthy match for Dorrance's razor-precise taps that perch on the edge of control. Dorrance Dance has been blending tap with contemporary dance forms for years, but the meat has been percussive movement. This evening's vocabulary is just as much hip-hop as tap. If tap and hip-hop have something in common, it is a shared worship at the altar of 'The Beat.' Dorrance has been hinting at the intertwined histories of tap and hip-hop for years, but this piece, with one dance happening next to the other, reveals through proximity rather than fusion just how tangled the two are. 'The Center Will Not Hold' pairs tap with regional hip-hop styles from the East, West, and Midwest. With so many distinct hip-hop forms on one stage, the dancers are brought into conversation not by the saccharine promise of connection across difference (the dancers often look serious, keeping to themselves), but simply by performing near to each other. The roll of a torso echoes in the fluid locking of an arm; the dexterity of Memphis jookin is made audible by a tap shoe. Historically, tap and hip-hop are both Black American dance forms that originated as street dances — refined and expanded through improvisation and exchange outside the colonialist influence of the 'institution.' Advertisement Jacob's Pillow is nothing if not an institution, and for the festival to open its season with a tribute to the intertwining vernaculars of Black American dance traditions feels important, even if it arrived under the name of a white woman. But Dorrance has long understood this — hence the way she credits the work. The center will not hold, nor should it. THE CENTER WILL NOT HOLD At Jacob's Pillow's Ted Shawn Theatre, Becket, runs through June 29. Tickets start at $65. 413-243-0745; . Sarah Knight can be reached at sarahknightprojects@
Boston Globe
26-04-2025
- Entertainment
- Boston Globe
‘The Center Will Not Hold' brims with creative energy
Advertisement Dorrance, a MacArthur Fellow, founded Dorrance Dance in 2011; this weekend marks the fifth time Global Arts Live has brought her company to Boston. Dorrance and Bessie Award winner Asherie met in 2004, when both were teaching at Broadway Dance Center, Dorrance tap, Asherie breaking. Asherie's 'Odeon' was the Celebrity Series's first event at New England Conservatory's Plimpton Shattuck Black Box Theatre in the fall of 2018, and she was part of the company that presented Dorrance's 'SOUNDspace' at the ICA in 2023. 'The Center Will Not Hold' begins with the sounds of percussion before the curtain rises to reveal John Angeles seated at a tabletop instrument. Silhouetted against a blue-lit industrial backdrop with towering stepladder, he bangs out the opening three minutes of a sophisticated rhythmic score that combines his live performance with commissioned music from Donovan Dorrance, Michelle's younger brother. The lights dim and then come up on Asherie and Dorrance standing side by side. Wearing sneakers and more or less staying in place, they react individually to the music while staying in touch with each other. They seem to be asking how we relate through movement. The center just about holds. Advertisement That's the theme for the rest of the hour, as Kathy Kaufmann's lighting cues the emotional shifts. To music that at times resonates with pain, the dancers, all in black and sneakers, line up facing the audience and move in agitated jerks and pops, exchanging positions, suggesting brief solos, a fraught ensemble wary of one another. Angeles, who otherwise is visible upstage left behind a percussion kit, comes forward and is flanked by Manon Bal and Tomoe 'Beasty' Carr, their arms gesticulating frantically; it's as if he were there to keep the two women apart. Dorrance, now in tap shoes, engages in a furious battle with Angeles and his ambulatory percussion, each in turn driving the other back. Matthew 'Megawatt' West crabwalks, handstands, headstands, and serves up eye-popping floorwork while Ron Myles circles warily; for a moment they face off. Donnetta 'Lil Bit' Jackson does an explosive solo in front of the group, which then moves to shield her from the eyes of the audience. Halfway through, there's a kind of intermezzo where Angeles, Dorrance, and Eriko Jimbo sit at the percussion table and bang it with their hands, fusing music and dance. Bal and Carr confront each other again before the men intervene and produce a truce of sorts. Asherie and West reprise the piece's opening duet. Then Asherie and Dorrance turn that up a notch, Asherie showing exquisite control in ghostly, slow-motion spinning while Dorrance shadows and finally circles her with frenetic tapping. Advertisement Dancers move in and out of spotlights as if dodging unfriendly eyes; then the lighting brightens and we get brief animated solos from Jimbo, Virgil 'Lil O' Gadson, West, Bal, and Carr, the latter two still eyeing each other. Jackson, Myles, and Michael Manson Jr. 'tap' as a trio while Dorrance accompanies them from a distance; the footwork is perfectly matched, but only Dorrance and Jackson actually have tap shoes on. The center now is a hybrid of tap and breaking, the two street forms indistinguishable. Angeles brings the piece to a close by leaving his percussion kit and joining in, his clapping and body-slapping now the only audible sound. Community restored, all 11 performers stomp and clap, making their own music, dancers indistinguishable from the music as well as from the dance. 'The Center Will Not Hold: A Dorrance Dance Production' Created and directed by Ephrat Asherie and Michelle Dorrance. Performed by Dorrance Dance. Presented by Global Arts Live. At: Emerson Cutler Majestic Theatre, Friday April 25. Remaining performance: April 26. Tickets $66-$94. 617-876-4275, Jeffrey Gantz can be reached at
