July 13, 1998 |
If you can imagine Olympic athletes who devote less attention to winning and more to design, you have the general idea of Diavolo Dance Theater, which provided a kind of "opening ceremonies" excitement at the downtown California Plaza on Friday night. Both Diavolo and elite athletics involve dynamic tasks and bodies sailing through space, barely avoiding collision or collapse.
September 11, 2000 |
Toying superficially with the distorted gender roles and atmosphere of menace that have filtered down into pop culture from vintage B-films, Kitty McNamee's new "Noir" added nothing to its sources but did at least provide a showcase for nine engaging dancers on Friday at the John Anson Ford Amphitheatre.
April 15, 1999 |
Jacques Heim, artistic director of locally based Diavolo Dance Theater, must have an astounding dream life. How else could he conceive of ladders as trysting sites; oversize doors as free-standing props; and a large metallic half-sphere, reminiscent of Disneyland's whirling teacups, as a haven for a pair of pining, metaphorically storm-tossed lovers? All of these images and more were included in Diavolo's audacious six-part program that opened Saturday at El Camino College's Marsee Auditorium.
July 18, 1998 |
The first year of Occidental College's enterprising Feet Speak dance series and Collage Dance Theatre's site-specific "Most Wanted" project at the Lincoln Heights jail dominated the seventh annual Lester Horton Dance Awards, announced Friday on the plaza of the Luckman Fine Arts Complex at Cal State L.A. in conjunction with the Dance Kaleidoscope festival.
November 24, 1992 |
Characters unhinged by cruelty dominated nearly all the pieces presented by Jacques Heim's exciting Diavolo Dance Theater, Sunday in the Barnsdall Park Gallery Theater. L.A.'s newest modern-dance ensemble, Diavolo specializes in neo-Expressionist dementia--especially processes of crazed brutalization targeting women.
December 18, 1995 |
At its best, the work of Jacques Heim's Diavolo Dance Theatre is as exciting and distinctive as anything created in Southern California, using the high-risk physicality of the '90s to make disarmingly whimsical statements about survival in unlikely environments. Over the weekend, the company celebrated its recent triumphant debut at the Edinburgh Festival with benefit performances for and at Highways Performance Space in Santa Monica.
February 17, 1997 |
In Olympic competition, an athlete maneuvers on a balance beam. In a concert by Jacques Heim's Diavolo Dance Theater, a woman executes similar balances atop a door frame. The difference: movement becomes metaphor. And that was the constant in a three-part program, "La Serie des Te^tes" over the weekend at Schoenberg Hall, UCLA. In "Te^te au Carre," dancers maneuvered on a huge open-frame cage, defying gravity and behaving as if they were pure geometric principles or forces.
July 8, 1996 |
Like Pilobolus and its offshoots, Jacques Heim's locally based Diavolo Dance Theater transforms non-dance motion into dance metaphor. But Diavolo's movement choices often reflect architectural conditions: how to use a staircase, for instance. Or the face of a vertical platform. A program dominated by works-in-progress offered plenty of Diavolo skill and daring over the weekend at Highways--but also insights about the way pieces evolve.
January 31, 1994 |
With enormous theatrical savvy and professional production values, Jacques Heim's full-evening performance spectacle "Tete au Carre" polishes and popularizes the hyper-athletic, bop-'till-you-drop style of movement theater that has become so prevalent locally.