On Nov. 30, I saw Tere O’Connor’s latest program at NYLa, consisting of two pieces, Poem and Secret Mary. The most exciting aspect of the evening was the involvement of Silas Riener, formerly of the Merce Cunningham Dance Company. He’s an exciting performer, and his dancing brought focus and clarity to the second work, Poem. The other interesting detail was the number of references to ballet that popped up in the two pieces. Anyway, you can read my review here.
And here’s a short excerpt:
“Tere O’Connor can be a frustrating choreographer. Look for structure and you’ll likely be thwarted, frustrated, or worse. Because it clearly is there, but you can’t understand it. The usual signposts – music, narrative, development – don’t help. As he himself states, his interest lies in “placing distinctly unrelated strains of material into complex relational networks that do not search to create narrative resolution.” That’s just the way his mind works. It’s an insider’s game: you can sense that the dancers know why they do certain things at certain times, but you, the viewer, are not privy to that logic.”