ODC/舞蹈卷土重来，然后在4月7日（星期四）的“ 50多个周年纪念季节”的第二个节目中进行了一些卷土重来，在未来几十年中应该看到的作品中以精致的开放态度移动。

如果来宾编舞Dexandro Montalvo在上周的节目A中，奇怪的严峻世界首映式留下了令人难过的后果。加上ODC联合创始人Brenda Way的温柔和无休止的“调查恩典”的复兴，您有充分的理由在4月10日（星期日）结束之前，可以到达Yerba Buena艺术中心加利福尼亚剧院的蓝盾。

Seiwert领导了自己的公司超过15年，并在Smuin当代芭蕾舞团担任Smuin当代芭蕾舞团的居民编舞已有十年之久，因此远离绿色舞蹈制造商，在“无艾比”中，她的安静信心表明。她最明智的选择可能不是与科恩的标志性声音和出色的歌词竞争。

The dance opens with a concert crowd cheering, and during “Famous Blue Raincoat,” Cohen’s words appear as they are sung on the scrim behind the dancers (projection design by Olivia Ting), inviting us into a missive to an old friend that ends, “Sincerely, L. Cohen.” Meanwhile, Jeremy Bannon-Neches, Cora Cliburn and Ryan Rouland Smith partner in ways that loosely suggest the letter’s love triangles. The dance is full of small, texturing details, like Bannon-Neches lowering Cliburn’s lifted arabesque leg so that it lands with her flexed foot pressing into his neck.

之间的歌曲,作品从科恩框架行动n with more of the late singer-songwriter’s mordant bittersweetness. “How do I begin anything new with all of yesterday in me?” one such quote asks, while another proclaims, “I’m not a pessimist. I think of a pessimist as someone who is waiting for it to rain and I already feel soaked to the skin.” The quotes enhance Seiwert’s wonderfully sensitive, emotional sequencing of the songs: From the ensemble rocking Mia Chong in “Dance Me to the End of Love,” to the innocent intimacy of Rachel Furst and Brandon “Private” Freeman in “No Way to Say Goodbye,” through the exuberance of Nina Simone’s rollicking take on “Suzanne,” and ending poignantly with Cohen’s unmistakably gravelly mature voice in “Thanks for the Dance.”

就像Seiwert对舞蹈并不陌生一样，她对这家公司的成员并不陌生-Freeman和Furst都与Seiwert的Troupe Tume Imagery一起演出，可以说Seiwert帮助使她成为现在的超凡魅力艺术家。看到在第一个ODC委员会中，Seiwert是如何从舞者那里嘲笑诸如克里斯蒂安·斯奎尔斯（Christian Squires）这样的新维度的，他们在乔·科克（Joe Cocker）对“鸟在电线上”的演绎中陷入困境。

“无艾比利”（No Alibi）与Way的杰作（即使是全国艺术基金会正式贴上了如此标签），因此“无艾比利”（No Alibi）如此。Way的舞蹈是格伦·古尔德（Glenn Gould）年轻而又活跃的首次录制《戈德堡变体》（Goldberg Andiations）的舞蹈，似乎涵盖了人类的全部情感，漫画和忧郁症通常相互交织。A section in which the men launch themselves from the wings to roll on the floor, while the women traipse over them, reminds me a bit of the late New York choreographer Paul Taylor’s classic “Esplanade,” but the jazzy sass of Way’s sensibility is all her own.

自由的man has a soft yet crisp quality in the central role here, like a cat that moves with total control. A simple phrase — his arm swinging around his back and seeming to slice his abdomen — mutates with utter nuance throughout, while other sections offer complex spectacle, contrasting the speed of Gould’s playing against gentle, slow-motion partnering, or evolving a cradling trio among three men until Freeman is in a long, sustained handstand above Rouland Smith.

古尔德（Gould）在他1955年唱片的班轮笔记中写道，戈德堡（Goldberg）的变化是“通过直觉的感知，统一，统一，由工艺和审查诞生，受到精通的精神。”在她的舞蹈中，一种类似的统一已经得到了精美的成就。

ODC将在其ODC Connect Service上很快提供本赛季“调查宽限期”性能的数字流。它肯定会奖励第二，第三，甚至第四次观看。

ODC/Dance’s “Dance Downtown”:Home season continues with Program B at 7:30 p.m. Friday-Saturday, April 8-9; 3 p.m. Sunday, April 10. $25-$150. Yerba Buena Center for the Arts Blue Shield of California Theater, 700 Howard St., S.F.www.odc.dance/downtown