Yujin Kim, photo by RJ Muna
David Harvey (foreground) and Edgar Meyer (background) perform in "Meyer," Alonzo King LINES Ballet's collaboration with double bassist and composer Edgar Meyer Photographer credit: Angela Sterling
The company opens with the somber “Handel” with six pieces to various baroque concertos, ending with a solo by Courtney Henry. Henry, who has to be somewhere between 5'10 and 6'1, is a goddess with legs that reach to forever and arms that have no end, rising a good head and shoulders above all her male cohorts when on pointe.
Flips and Tricks
The second piece is the hypnotic “Writing Ground” from 2010—a searching, struggling dirge of a dance to a repetitive monastic chant. Meredith Webster employs a withering, wraith-like technique as if she is an invertebrate and is instead pulled and manipulated around the stage by four male dancers. At one amazing moment, they pull her in head-first flips through the air. The male guardians are caring, complicit, but also unrelenting—not letting her give up despite her struggle to get out. Just as you think she's given up on the floor at the end, they pull her back to her feet.
The Wave, Refined
The theater's pensive mood is then jolted back to joy with “Ocean.” The 1994 piece, choreographed to an Indian song over a hearty drum core beat, provides some ecstatically satisfying moments when the whole company moves in synchrony.
The show continues today through Sunday, April 28 at the Lam Research Theater at Yerba Buena Center for the Arts. Tickets: 415-978-ARTS or www.linesballet.org.