The work of three millennials at Nederlands Dans Theater is fast, intense, wide-ranging and busy

Since Canadian Emily Molnar took over the artistic influence at Nederlands Dans Theater, it has been clear that the company has an ambition to expand, rejuvenate, and make its roster of choreographers more diverse. Illuminate, the new program of the NDT2 youth group, is a good example of efforts to put new dancemakers in the spotlight: two with African-American dancemakers and one with Tunisian dancemakers. Root. All millennials, they are still hardworking but also recognized internationally. What do Nadav Zellner, Michaela Taylor and Jermaine Spivey say, are there any similarities?

One similarity seems clear after seeing this program: if their dance language is a reflection of the lives of millennials, this is consistent with many articles written on the subject. It’s busy, it’s a lot and it never ends. This was already evident in Nadav Zelner Bedtime story, which is repeated in this program. The movements of the thirteen dancers are so fast, so lightning fast, so complete and detailed, it is almost too much to follow.

Destructive power

Also in Lights, camera, disassembled By Michaela Taylor The tempo is high, and the atmosphere is also nervous and fast. On the topic of the destructive power of power and fame – Taylor from Los Angeles, where Rich and famous From Hollywood – she built a choreography full of references to show business. First, the eight dancers line up elegantly, ready for show time. To TRU’s deafening beats, their movements – especially of the arms – are full of tension: tight, fierce, short, fast, staccato, Freezes.

Frank Sinatra’s drumbeats and distorted wails (“New York, New York”) suggest the temptations of show business. Slowly, a fierce competition for the spotlight ensue, eventually threatening the vulnerable red skin (read: soul) visible beneath their crisp white shirt. Their white face paint has long since turned into dark masks. Because of the many simultaneous parts and the somewhat constant energy, the piece remains a bit stagnant after some time, despite all the desire to dance. But what it drives is attractive Lights, camera, disassembled Without a doubt.

Electronic soundtrack

Jermaine Spivey breaks down code of conduct A massive number of dance steps across the stage, set to an electronic soundtrack that he composed himself. After an exploratory start, the choreography team ventured out into space. The twelve dancers seem to be drawing freely from their own arsenal of steps, but patterns and variations soon become recognizable.

code of conduct Abstract, but despite the practical approach to the movement, the piece still gives the impression of intense human connection; Dancers must pay close attention to each other to coordinate their coded improvisations. With this hands-on work, as well as the sudden power outage, Spivey appears to be looking to the works of American choreographer William Forsythe. Fortunately, he is searching for his own language.

It’s a somewhat similar picture that emerges from this It enlightensBusy, busy, attractive enough but with plenty of room for development.