Mark O’Donnell Theater, Brooklyn, NY.
November 9, 2025.
Amanda Treiber + Firm (AT + Co) offered an inaugural season on the Mark O’Donnell Theater in Brooklyn NY in early November. The corporate carried out two works, why I can’t come to the cellphone…(world premiere) and MADERA (2021), each choreographed by Treiber. Michael Scales and Manuel Figueroa-Bolvarán carried out stay on the piano and double bass. On the night time of my attendance, the home (a black field theater of 87 seats) was completely full and the temper heat and vibrant.
The seven-episode why I can’t come to the cellphone… explores each the mundane and the advanced that permeate the vary of human relationships. Episode 1: “The Sure,” and Episode 4: “The Unbound,” are each danced by the identical couple, a pair honoring the deep worth of platonic friendships. The piece, scored by Philip Glass and carried out by New York Metropolis Ballet pianist Michale Scales, additionally utilized voice recordings of the dancers and a rousing harmonica solo from Harrison Coll. All episodes displayed the pleasantly unbothered, nothing-to-prove high quality of Treiber’s choreography, however the closing episode, “The Lengthy Goodbye” (Monica Lima, Harrison Coll), struck me as so painfully and superbly actual with lengthy moments of stillness, evoking the chasms in relationships that may catch us off guard.
Following intermission was MADERA, which was largely improvised from each the dance and musical views. The haunting journey makes use of atypical piano accompaniment, together with variations of the double bass. Scales hardly ever sat on the piano, and as an alternative used an array of things to govern the potential of the strings from contained in the instrument. The desolate, stark high quality of the music juxtaposed with the humanity of the dancing. Treiber, together with Lima, merely show the resiliency of individuals, and the care we now have for one another even in occasions of metaphorical grayness. The work had a meditative high quality to it that transported the viewers to this world of musical loops and electronics, and of tender moments of flesh.
The night had an understated excellence driving it. Consideration to element and considerate curiosity each performed roles to deliver such skilled artists to the stage. It wasn’t flashy, though the dancing was excellent. Flashy is fast and brilliant, however this was a gradual burn – and one which created a deep heat.
By Emily Sarkissian of Dance Informa.
