An unexpected live music treat in Dance Heginbotham show

A tight schedule on a busy Saturday night almost prevented me from watching the performance of Dance Heginbotham, the culminating activity of their week long DanceMotion USA tour here in the Philippines. But a stroke of luck and the Cultural Center of the Philippines being just a stone throw’s away from my next destination allowed me to squeeze viewing Dance Heginbotham’s show. And boy, am I extremely glad that the odds worked in my favor.

Usually, contemporary dance is a hit or miss for me with me relying too much on the music used to serve as my anchor to the choreography/performance. Thankfully, the hour long show by Dance Heginbotham, founded by John Heginbotham, had excellent piano music by Scott Joplin and Darius Milhaud performed live by musician Nathan Koci. Not only did Nathan play in three different pianos throughout the show, but he also played the accordion in between the dance numbers. I have to admit that at several moments during the show, I felt like I was watching a music recital that had some dancing on the side.

The show started with the number Waltz Ending that featured dancers John Eirich, Lindsey Jones, Courtney Lopes, Weaver Rhodes, Sarah Stanley, and the tiny Macy Sullivan as the soloist with Nathan playing Scott Joplin’s Harmony Club Waltz at the upright piano (Joplin just had to be on an upright). With Joplin’s very accessible and pleasant waltz, it wasn’t difficult at all to get into the performance which still bears the dancers’ classical training and elegant lines.

I thought that the use of recorded music during the following number Rockefellers would be a letdown, but the duet between John Eirich and Lindsey Jones featuring a selection of Raymond Scott’s music proved otherwise. I greatly enjoyed the choreography and the footwork that harkened the old days of swinging jive. At the end of this bit, I already had Scott’s Manhattan Minuet music and the two dancers’ steps (especially the knee and heel patting) firmly imprinted in my head.

The next number Diamond was the highlight of the show for me due to the music by French composer Darius Milhaud. With Nathan playing selections from Saudades do Brasil, Op. 67 at the grand piano this time, my attention was almost glued to the pianist and I just snuck some glances towards Kristen Foote who was playful, cheeky and at times sultry as the lone dancer for this. I was very mesmerized by the dance rhythms and especially the polytonality that gave this piece rich harmonies. I just decided right then and there that I have to get a copy of the score right after the show and learn how to play this.

A dash of unexpected theatrics was delivered by Nathan during the last of his accordion interludes. Walking further back the stage and with seemingly nowhere else to go, the back curtains were drawn to reveal a second grand piano (the third piano overall) for him to play for the finale.

Featuring the entire company, this lengthy number Easy Win showcased the athleticism and stamina of the dancers in ensemble, partner, and solo work often times forming a complex weave (yet with recognizable classical lines) of movement with just seven bodies. The music, unfamiliar to me, was composed by Ethan Iverson and was commissioned by the company for a new work dedicated to John’s mother on the occasion of her 70^th birthday.

After the show, I’ve had the pleasure of having a brief chat with both Nathan and John. I didn’t waste time telling both of them how the music helped a lot in my appreciation of the dancing. And I had to confess that I wasn’t able to focus on the dancers as much as I would want to since it was difficult for me to take my eyes off Nathan whenever he was playing.

I almost didn’t get to watch the performance of Dance Heginbotham and it was only through external forces that it became possible for me. I wish that I was able to stay longer at the lobby to meet the dancers (who took their time before heading out for the meet and greet) and to discuss music more with Nathan and John, but I had to hop over across the street for yet another dance show.

A part of DanceMotion USA, Dance Heginbotham’s performance was presented by the Cultural Center of the Philippines and the US Embassy in Manila and was produced by the Brooklyn Academy of Music.