Limón Dance Performance Analysis

Limón Dance Company; Excerpts and reviews Walking into the concert on Saturday March 25, 2017, I was unprepared and unaware of what the Limón company stood for and what stood in their repertory. Learning quickly that they were founded in the later 1940’s, I should not have been surprised by the general technique of the company, given that the techniques from that era tend to be fairly similar with the concepts of contractions and fall and release. The first piece we were shown was The Moor’s Pavane, I had decided before the concert that I would read the program after to see how well they portrayed the story, having not known anything about it before hand. Watching it, I was confused on whom was who until the very end when the Moor’s wife died. I originally thought they were quite literally fighting over the handkerchief part of the time. The ‘friends’ just made this plot and story more confusing in the performance. The choreography, while well danced, was slow. Being the nit-picky person I am with dance I was surprised by the amount of dislike I had

It is possible that it could have been that I forgot my glasses, but it almost seemed as if the dancers were blurry. This also could have been that the lights were poorly aligned, but I am doubting as this seemed like more of a personal choice of Philip Trevino.
The second excerpt we watched was Chaccone, which was a bit more abstract and reflected to be more modern as we are dancing today. This solo was performed by Ross Katen and he did an exemplary job, given that this was his second piece and it was fairly long. The height he got on his jumps was astounding and his eyes dared the audience to watch him.
The lighting for this piece was by far better and was harsher, to reflect upon the style of the dancing, which allowed the movements to be seen well. Unlike the piece before it, it complimented Katen’s dancing, instead of blurring and softening it to an