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IMPRESSIONS: Omar Román De Jesús and Boca Tuya at 92NY Harkness Dance Center
By Henning Rübsam
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Published on December 5, 2024
Boca Tuya. Photo by Steven Pisano
Company: Boca Tuya
Artistic Director: Omar Román De Jesús
Members: Margaret Jones, Yusaku Komori, Ali Pfleger, Rachel Secrest,
Lieana Sherry, Ian Spring, Marco Vega, Santiago Villareal, Nat Wilson
Lighting Design: Ben Rawson
Costume Design: Omar Román De Jesús
Performance Dates: November 14 and 15, 2024
92NY Harkness Dance Center – Harkness Mainstage Series
Buttenwieser Hall at the Arnhold Center, New York City
On the opening night of Boca Tuya's two-night season, I manage to get to the 92NY well in time to study the program before the dancers take the stage. Bemused by the paragraphs that summarize the works, I also find myself a bit worried, because I feel the pressure to catch all the meaningful intent in the choreography. But just a couple of minutes into artistic director Omar Román De Jesús’ group work Los Perros del Barrio Colosal, I feel my shoulders relax. This guy knows what he’s doing. While the dance might not always gel with its program notes, it not only stands on its own, but, better yet, it shows a sense of humor.
Nine dancers dressed in drab-looking suits parade around the stage barefoot, get involved in absurd situations such as group knots that take effort to disentangle, or become dogs on and off imaginary leashes. To music selections by Lucho Bermúdez and Franz Liszt as well as occasional silences, a variety of moods entertains throughout. Featuring moments of skillful partnering in which people care or do not care about one another — after all, not all relationships are the same – this farcical work convinces with full-out physicality that makes generous use of the space. Created in 2021, it was originally presented as a film and later adapted to the stage.
In the following same-sex duet Like those playground kids at midnight, set to original music by Jesse Scheinin, De Jesús elevates the level of partnering to “masterful.” He and company member Ian Spring dart across the stage and into one another’s arms daringly, seamlessly, and sometimes tenderly. Lifts and floorwork explore the space in all directions. Wearing socks allows the dancers to glide, and, despite their otherwise ill-fitting clothes, this is a beauty of a duet! Choreographed in 2020, the piece does not seem to have transitions but flows as one story with ever-changing dynamics. These kids are carefree and loving, helter-skelter and pensive, and I don’t want them to have a curfew. Intermission arrives too soon.
The newest piece, Caress them in a way that hurts a little (2024), showcases the men of the company yet again in dull-looking garb, but at least the women get to wear dresses. In this work with music by Ola De Luz by OKRAA, De Jesús tries out the concept of repetition in Bauschian (yes, Pina Bauschian) proportions. Unfortunately, unlike the pieces of the German Tanztheater goddess, this outing does not feature any set. I become aware that no side booms have been shedding light on the dancers for any of the works. The sometimes precious vulnerability displayed comes across as shtick. While the wonderful dancers do their best to hold the audience’s attention, my companion drifts off to sleep as the piece peters out with the performers running in circles.
As excited as I am by much of De Jesús’ work as a choreographer, I suggest he collaborate with different costume designers to give his pieces varying looks and present his finely tuned choreography under light that would illuminate his talent and his fine company.
