Felice Leser Dance Theater in 'I am a dance 2020'

New York Live Arts, New York, NY.
June 26, 2025.

I am a 2020 dancerplayed in New York Live Arts from June 26 to 28, which marked the 50^th Anniversary of the Lesser Dance Theater Company (FLDT) of Felice, explores the experiences of the Covid-19 Pandemia with live dance, projected video and an eclectic soundtrack.

The universal aspects of the pandemic were shared by all: carry masks, navigate the shortage and stand in long lines. But the contours of the experience were exclusive to all, whether medical, professional or psychological. The dancers were beaten strongly when the studies and teaching work stopped. For dancers, going to the study is not only a place to train, but to socialize, establish contacts, ensure concerts and jobs, and is generally an anchor around which everything else revolves. When this was no longer possible, the dancers faced a myriad of obstacles, since they weighs the possibility of changing race and how to stay fit when the movement was inhibited by the small living spaces in an apartment.

The video collage took to the front and the center of the stage, since they were screened on a huge screen on the stage. There were too many videos and dancers in the movie (Melanie Adam [a principal dancer from the original 1975-76 company]Stephanie [Lyon] Albanian [FLDT’s principal dancer from 1989-2000] and Andrea Kron) were not effective narrators. His tones of Dulcet remembered a very patient primary school teacher who tried to keep the class up to date and become monotonous. While some of the stories were heartbreaking and captured the challenges of being a dancer during the pandemic, they became less and less interesting due to the lack of personal connection beyond the screen. When the dancers appeared with any type of video, they were eclipsed by the projections instead of receiving a strong backdrop or a means to complement the movement.

The most interesting stories were told by the same dancers, especially Judge Jackson, who tragically lost his brother, a person who inspired him greatly, during Covid. A single one made by Jackson, a delicate and synthond merodor, after the video, embodied the emotion behind his story.

The strongest part of the show was the dance sections performed by the cast of the beautiful engines: Jackson, Mackenzie Allen, Amina Konaté, Kristin Liquera, Héloïse Ponsonnet, which were combined with an expressive lighting of John Salutz. The classic Lesser Ballet vocabulary dotted with contemporary and modern is soft and cozy.

A Swirly dance played by a red trio (Konaté, Allen and Ponsonnet) was scored by Arabesques and Jetés, and demonstrated the solid technique of the dancers. The lush lighting pattern on the floor gave him a romantic sensation. The big surprise here was the tip shoes. The days of Karole Aritage's explorations with modern ballet in P atra have given way to extravagant gestures, launch technique and socks. It was fun to see the physically smaller contemporary vocabulary mixed with modern ballet and tip work.

The musical selection was sacrificed from a variety of genres: Handel's Messiah and “sound an alarm” by Judas Maccabeo; An extract of Johannes Brahms' first movement Vilonlo Sonata in F (Opus 99)And Alessandro's second movement Marcello's OBOE concert in D Minorregistered by the oboist Diane Leser and the organist Kent Tritle. American composer Richard Einhorn and European pianist and DJ Dave August also contributed short pieces to the score.

More dance was needed in this work, and Salutz's lighting would have continued to raise these moments to join the piece in a more cohesive way.

By Nicole Colbert de Dance informs.