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Sara Mearns

Twyla Now

November 22, 2021

After a pause, there was the world premiere of "Second Duet." It was the most dramatic and emotional dance of the program. Wearing sneakers and casual sportswear, Cassandra Trenary and Aran Bell of American Ballet Theatre were the handsome couple whose tempestuous and turbulent relationship ranged from argumentative to violent to clinging and physically dependent. Tharp’s choreography included complicated partnering in which elements of the relationship were uncomfortable and disturbing, or sometimes amusing (as an example, Trenary stood solidly and dared Bell to just try and pick her up). Without an actual story line, the dance was emotionally charged, revealing and riveting. Trenary and Bell gorgeously performed the complex choreography. Looking more like members of a modern dance troupe than classical ballet dancers, they brought emotional depth as well as physical ability to this taxing piece of work. A modern music mix by Thomas Larcher and Aztec Camera played by the musicians Stephen Gosling (piano) and Gabriel Gabezas (cello) was sometimes as appropriately discordant as the relationship. [more]

Fall for Dance 2019: Program 5

October 16, 2019

Monica Bill Barnes totally changed the mood with her thoroughly delightful “The Running Show” which used physical contests as a metaphor for dance.  Barnes stood in the midst of sixteen students from Hunter College as her creative partner, Robbie Saenz de Viteri acted as a sports announcer, egging the large group on as they performed complicated patterns of finger snapping. Saenz de Viteri was the backbone of “The Running Show,” his narration, in turn witty, humorous and deeply thoughtful, drove the action which included more competitions; Barnes trying to beat her turning record; and an appearance of a young ballet dancer, Charlotte Anub.  She was clearly too young to dance on point, but she had a natural stage presence as she turned and performed basic pointe work, charming the audience.  “The Running Show” left a positive buzz in the audience, casting a quiet spell. [more]

Works & Process at the Guggenheim: “One of Sixty-Five Thousand Gestures”/”NEW BODIES”

January 22, 2018

“NEW BODIES” (2016) choreographed by Melnick was initiated by Sara Mearns in a summer workshop at Jacob’s Pillow Dance Festival. Skilled classical ballet dancers who were interested in expanding their understanding of movement beyond the strict formalities of ballet choreography joined Mearns and Melnick to experiment with just how movements emerge into choreography.  The result is not an earth-shattering rethinking of the art of dance, but a loose web of crossing paths where touching and light partnering follow from soft collisions. [more]