Share your reactions to Limón Dance Company
The Limón Dance Company’s visit to Portland this week exceeded my expectations. It is a company rich with history yet timeless. Mr. Limón’s perspective as an enduring artist was clearly evident. The dancing was superb. The company’s artistic director, Carla Maxwell, and the exquisite dancers were warm, generous and articulate. They are true ambassadors for dance.
I am incredibly encouraged and buoyed by our community’s enthusiastic response to our expanded dance season! From the passionate audiences to the full masterclasses and other PCA Offstage events (there were more than seventy people last night at the pre-performance screening of the documentary Limón: A Life Beyond Words) to the community’s informed and critical response to the performances thus far, it is clear that Portland is a dance city.
Were you at the show? Use the comments feature of below to share your thoughts and reactions with us and with the community. Oh, and in case you want another look at it, we’ve put a PDF of the program insert online.
We look forward to seeing you at Movin’ Out and Ronald K. Brown / Evidence. Dance on....
Lois Lamdin says:
I stand (courageously or stupidly?) somewhere between Hertz and Givertz. The Duncan-inspired piece was inferior Duncan but lovely dancing on its own merits. The “Traitor” was far too heavy on narrative, which was distracting, but the male dancers were superb.’My favorite piece was the last, truly a fine choreographic offering, abstract and near perfection in bodily movement, color, and music. I do wish modern dance would dispense with its old fashioned concern with story and concentrate on the glories of the rhythms, skills, emotions, and sheer aesthetic values embodied by great dancing.
f.n. The production’s costumer deserves an Oscar for subtle colors and effects.
John says:
My wife, a former dancer, enjoyed the evening’s production. I, however, found the performance boring. Beautiful dancers with amazing control of their bodies, but I did not find the performance relevant or brought into today. I guess this genre is another form of classical dance. It certainly is not “contemporary” or “modern”. Except for students, I expect audiences will dwindle.
Will Hertz says:
Annette enjoyed the evening, but I was bored. The LImon Company seemed to me over-the-hill. Isadora Duncan and her scarves is corny camp and best left to history. Ditto sinister treatments of Judas Iscariot. The Bach was a little better, but Balanchine did the abstract movement of groups on stage far more effectively.
phyllis givertz says:
Last night was another of those magical nights in Portland,when people from 7 to 90 come in the snow to see great artists give us the gift of their talent and generous spirit. I’m hoping this season of dance is just the beginning of many more filled with such world-class performances. We’re definitely ready!
Jan Lynskey says:
The last number particularly caught my attention, the subtle differences in costume color, paired with minor as well as major movement changes that fit the shifting fugue pattern was wonderful. The symmetry in a large group always impresses me when it is on target, and it was last night. My husband was taken with the men’s number (the second) and the great music that went with it. This troupe meshes mood, motion and music as a lovely and mesmerizing art form.
Freddy Freeport says:
After Isadora was strangled by her scarf and Judas met the noose, it was pleasant to watch “A Choreographic Offering,” hear some Bach and think of spring.
It was a beautifully put together program, and the dancers looked like real people.
Did anyone else see some of Jerome Robbins’s “West Side Story” moves in “The Traitor”?
The two works were created within a few years of each other.