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COMPANY REPERTORY |
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1936-1959 | 1960-1970 | 1971-1997 | 1998-present
Scenes from the Music of Charles Ives (1971)
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Music: Charles Ives 6-12 dancers, 20 minutes A poetic mix of masked revelry and human yearning set to the music of Charles Ives, a composer whose dark and stringent sensibility was comparable to Ms. Sokolow's view of life. This work contains "The Unanswered Question." "One remembers, watching the performance, Ms. Sokolow's belief that audiences and performers must 'feel' dancing that is 'impelled by truth.'" Jennifer Dunning, New York Times, 1985 |
Ride the Culture Loop (1975)
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Music: Teo Macero 8-14 dancers, 20 minutes A bus route through New York's patchwork of ethnic neighborhoods was the inspiration for this dance, jazz being the aural equivalent of the alienation and social schisms Sokolow was exploring. "...the voyeurism, the hard stares, the jarring moods, the suffocating sense of crowds and the tension, even in the jauntier, Caribbean-flavored moments, reflect both the frolic and foreboding of night." Sarah Kaufman, Washington Post, 1997 |
From the Diaries of Franz Kafka (1981)
| Music: Schumann, Mahler, Roset, Schoenberg, Jewish liturgical
music 10-12 dancers, 30 minutes One of Ms. Sokolow's most handsome weavings into theater-dance of works of art and literature. A re-creation with brutal conviction of the writer's sense of chill isolation in an overbearing world. "From the very beginning...there was a rightness to the proceedings that seemed inevitable, inexorable and even intoxicating. ...the depth of the artistry presented was as rare as it was welcome." Aaron Cohen, In Step, 1981 |
Kurt Weill (1988)
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Music: Kurt Weill 6-10 dancers, 30 minutes Using the music of Kurt Weill (ranging from classic tango to string quartet to narrative song), this six-part dance combines the powerful impact of the understated Sokolow gesture with her ability to translate musical pulse and cadences into rhythmic expression. "'Kurt Weill' fits the composer's roots in German Expressionism with Miss Sokolow's singular brand of American Expressionism. ...Miss Sokolow can sum up a state of being -- an entire society -- in an arrested pose." Anna Kisselgoff, The New York Times, 1991 |
September Sonnet (1995)
| Music: Smetana, Part, Rachmaninoff, Poulenc 2 dancers, 17 minutes A love duet which explores the many facets of a mature relationship. "The way the lovers of 'September Sonnet' remain together despite adversity might well comfort anyone who is ... still in love." Jack Anderson, The New York Times, 1995 |
Four Songs
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Music: Paul Ben-Haim, Marc Lavry, Ladino Traditional, Naome
Shemer 4 dancers, 15 minutes One of Ms. Sokolow's late works, this lyrical suite recognizes the value of simplicity and the kind of vitality that grows from an inner spirituality. "... a ritual for four women, girlish, yet age old." Jennifer Dunning, The New York Times, 1995 |
Frida (1997)
| Music: Traditional Mexican, Chavez, Revueltas, Lola Beltran,
Rodrigo Female and male soloists with 6-10 dancers , 15 minutes Based on her personal relationship with Mexican painters Frida Kahlo and Diego Rivera, Ms. Sokolow shaped an intimate portrait using dance, slides of Kahlo's paintings, and a score by Mexican composers. "Fearlessly, and with infinite compassion, Sokolow reveals the inner life of her protagonists." Ernestine Stodelle, Art Times, 1997 |
Photos: David Fullard (Charles Ives), Johann Elbers (Kurt Weill), Sally Cohn (Ritual Suite)