Limon Dance Company. Animal Farm.

The Limon Dance Company (with a ' over the O) at the Joyce had two performances within an hour and twenty minutes. The first, "The Emperor Jones" was a ballet intertwined with modern dance. The performance was innovative that kept coming at the audience.

The music by Heitor Villa-Lobos gave a mysterious and at times classical theme to the dance. Still using the choreography by Jose Limon (' over the E and O), the dance is as powerful and provocative today as it is was when he first designed it.

Under the reconstruction of Dante Puleio, the dance is brought into the modern, but does not forget the image that Limon had when he first designed it.

As an interpretive piece, "Jones" has a plot that deals with power, signified by the big chair. "The Emperor" sits in it proudly (Johnson Guo), until he has been rendered powerless by The Man in White (Joey Columbus). Here the significance id interpretive to the observant audience. It appears that the awe powerful has been rendered powerless by "The Man in White". Why white? Is he a good guy? Or is he the perception of a good guy? The devil in disguise? Or a real good guy who wants the people to live a better life? If you do not read the story, then it leaves it up to each audience member.

As a single violin belts out the music, the audience is kept in suspense as to what will happen to the Emperor, who is dressed in black. The colors here in the costumes matter. Where the character in white seems calm and confident, the black is neither calm, nor in control of the situation. Was he ambushed? Did he know this day would come, or was he too arrogant to think anyone would try to de-throne him? Deftly directed, he has no look that gives it away on the surface.

The first performance was brilliantly done all the way around... the direction, the costumes, the lighting, the music and the creativity. The forty minute duration was inspiring to the audience and was met with vigorous applause at its conclusion. Like many performances I have seen, The Limon delivered on this one!

Act Two "Jamelgos"

Where the prelude (I'll get to that at the end) and "The Emperor Jones" was excellent, "Jamelgos" is an acquired taste. Based on the "Homo- Erotic" and where fragility is masculinity, "Jamelgos" has excellent dance, rhythm, lighting and music to it.

The problem with "Jamelgos" is that it is not for everyone at the theater. I like it when theater companies shake it up a little, especially in Chelsea/ The Village. Know for experimental and edgy, this area of New York City has been known to mix it up in the Erotica genre.

In its plot, however, the theme is a bit convoluted and it gets confusing at times. While the costumes are unique, and the dance is well crafted, the story never shows us masculinity, nor fragility. The dancers are not very masculine and I never once was made to believe that the were frail. In fact, the dancers commanded the stage with confidence and verve.

Opening Number "Chaconne".

The opening act which lasted about ten minutes was an excellent rendition with John Marcus on the violin. The dancers ran the gambit in age and were all effective in the choreography. A big cast that moved throughout the stage flawlessly. It was welcoming to have this dance to open up the evening. The dance was as electric as any performance that you will see on a Saturday night in New York City.

The Joyce Theater, Chelsea, New York City, Tony Awards, Broadway, Off Broadway, Hollywood, Modern Dance in New York City.