PLGD group.
It speaks volumes about a company when they are able to excite, captivate, stimulate and evoke emotion from an audience no matter what the setting. This was true for the Peter London Global Dance Company when they recently performed at St. John’s on the Lake. In the lovely and small, or one could say intimate space, close proximity gave clear insight into the effusive dancers and the diverse choreography.
London himself was an ever present star of the show offering background into each segment in a casually gracious manner. Admiring laughter broke out from the audience as he swirled into a complex and quirky routine representing “dance of today.” London invoked Martha Graham who once said how difficult it is for a dancer to move slowly or be still. Movement of today tends to be fast. Less is more is a hard message that London continually brings to his dancers and choreographers and is well represented in London’s choreography.
Rain and Wings was a mesmerizing and sensual solo for Sasha Caicedo, choreographed by London. Starting low to the ground like an animal, one could sense both earth and air as she writhed and twisted, sometimes exploding in a glorious reach to the heavens. Caicedo's maturity coupled with an extensive exploration of movement evolves with each performance making her an absorbing and inviting performer.
The lazy, hot days of summer were evoked by choreographer Luis Cuevas from New World School of the Arts in Take Five in the Summertime and Sing. Jasmine Howell has a dazzling smile and easy confidence in everything she does.
Willy Williams kept our attention in the smooth consistency of Justin Rapaport’s Frosties, accompanied by the jazzy sound of Dizzy Gillespie. Williams faced away from the audience for the entire solo until he collapsed with a surprise fall to the floor.
Fire in the Coal Pot showcased the company in a colorful variety of solos, duets and trios. Yu Mien-Wu and Williams adapted to their cozy arena with some dynamic flips, jumps and lifts in an exhausting duet. Anasthasia Grand-Pierre and Faye Akin added spirited presence while Brashard Lewis was an energetic new addition. When everyone was on the stage, the tight confines and the calypso sounds of steel drums added a fun frenzy.
The second half of the program gave us a view into new and diverse works, three of which were choreographed by London. Heart Song saw Caicedo as an aloof Indian goddess with support from her endearing and constant pillar, Wu. Stand was created in response to the earth quake in Haiti and the struggle to survive in the camps at the aftermath. Alone, Grand-Pierre rolled and contorted in desperation as she attempted to break free from her paper engulfed outfit. She seemed consumed in a frenzy of media.
The intensity and focus of Wu, who tends to be cerebral in his demeanor, was a different and welcome approach in Steepe Tango choreographed and costumed by Armando Gonzalez. The Piazzolla score performed by Yo Yo Ma was apt accompaniment to this dreamy and contemporary duet by Wu and Caicedo.
The evening culminated in a colorful celebration of culture, diversity and joy in London’s Sockaiso. The compact space, while probably uncomfortable to work in, added an element of collectivity, engagement and community that the audience easily participated in.
In closing, London gave a preview of what is to come in future performances including new choreography to Stravinsky’s The Rite of Spring and collaborative choreography by some of his former students. Lots to look forward to as the next months unfold.
For tickets to upcoming performances, visit: www.plgdc.org
