The Anniversary Present
Normally, the return of Passion
Distanced, a 1987 Garth Fagan work
in which he performs an extended, intricate solo, to the repertory might have
Norwood Pennewell knotted up with anxiety. But when he performs it this time,
he’ll have something quite different to preoccupy him, since his own first
choreographed work will appear right before it on the program. This season,
Pennewell, the veteran Fagan dancer who exemplifies the choreographer’s
complex, multi-faceted, unpredictable way or moving and is also the company’s
rehearsal director, is wearing more hats than usual. Much to his surprise,
Fagan invited Pennewell to create his first dance for the company’s 40th
anniversary. He pretty much left Pennewell—whom everyone calls “PJ”—to his own
devices, then looked in and must have liked what he saw, since the premiere, Hylozoic, will be danced at every performance.
Speaking from Rochester,
where Garth Fagan Dance is based, Pennewell admits to being overwhelmed by the
sense of occasion—it will be the first time the company performs a work by anyone
other than its founder—as well as gratitude for the opportunity. “Garth is
always full of challenges. To do a piece for his company, which is going to be
an incredibly supreme, humbling honor, but to do it on the 40th!” he
says. “There were definitely forewarnings; sometimes at post-performance
discussions he’s been dropping hints about how I would be choreographing in the
near future. A year ago, he said I really need to start dealing with this in
earnest.” Fagan suggested an eight-to-10 minute piece would be a good way to
start, and then allowed Pennewell to find his way. “Garth presented this
project, as, ‘You just have to make your own statement. Nobody expects you to
be me. Just do whatever you think. I’ll take a look at it whenever you’re ready.’”
Pennewell, who is an
extremely youthful 52 and has been with the troupe since 1979, initially shaped
his dance on students in the Fagan School’s Summer Movement Institute, before
working with company members. He ended up with a cast of 11. After considering
music by Miles Davis, he settled on John Adams’ Road Movies, with an added section by Yusef Lateef and Adam
Rudolph to which he made a solo by company standout Khama Kigari. Standing in
front of his peers in his new role was an adjustment. “I realized the
responsibility that I had to deal with. I said to Garth, ‘I have the reputation
of these dancers in my hands,’ and for a moment, it felt a little intimidating.
But these dancers know me, and they’re not expecting me to be anything other
than who I am. All of them were really excited, the older ones especially.”
Having taught company
classes for many years, Pennewell was used to being in the front of the studio
facing his colleagues, but his new assignment offered a very different context.
“It’s interesting, dealing with the dancers in terms of a palette of colors, or
clay to be molded. It was different, because in class, I’m trying to get
everyone to look the same, to do the ‘correct movement.’ But when I sat down to
deal with this project, I was looking more at what kind of nuances this person
would be able to present versus that person. And how does this person attack
more aggressive movement, compared to another person. It was an interesting
challenge.”
The title came to him after
he completed the dance. The term “hylozoic” came up in conversation with a
friend. (The dictionary defines “hylozoism as “the doctrine that matter is
inseparable from life.”) “I did a little bit of research, and felt it was an
interesting concept.
It’s something I want you to
have in the back of your mind, so it’s subliminally coursing around when you
see the piece. I’m probably nave for even thinking that is something
interesting to do,” he notes with an amiable laugh, “but we’ll see.”
Fagan has also
choreographed a premiere for the anniversary season. His new Thanks Forty, a celebration of his company’s four decades, is
set to a typically varied Fagan mix: cello music by Shostakovitch, a percussion
score by Angolan composer Bonga Kwenda and Gerald Albright’s music for tenor,
alto and baritone sax. The repertory also includes the revival of Woza, a 1999 work set to a score by South African
composer Lebo M, and the return of last season’s fascinating Mudan 175/39, set to string quartet compositions by Chinese
composers.
Fagan often inspires
longevity in his dancers; Pennewell is not even the senior member, since the
ageless Steve Humphrey’s tenure dates back to the company’s beginnings. “Garth
is always posing really interesting movement, psychological, emotional
challenges for you,” Pennewell says. And as soon as you feel that you’ve
acquired a certain level of awareness and then you feel comfortable enough to
execute that on stage, he’s ready with another series of challenges for you.
It’s really very encouraging, very stimulating and it makes you want to
continue on.”
Garth Fagan Dance
Nov. 9 through 14, The
Joyce Theater, 175 8th Ave. (at W. 19th St.), 212-242-0800; times
vary, $19 & up.