nicholasleichterdance.

nicholasleichterdance THE FLEA THEATER NEW YORK CITY, NEW YORK JANUARY 13-30, 2000

Nicholas Leichter's choreography can be divided into three separate styles. His solos are frenetic; his duets with dancer Clare Byrne are sensual; and his company pieces are celebratory. Maybe these three styles emerge as Leichter shares himself. In any event, these were the three styles evident in Breakdown, new and recent works from Nicholas Leichter with deejay Eddie Chai.

Leichter likes to create his own world as opposed to a "we're going to dance for you" show. He succeeded by dimming the lights long before the imaginary curtain went up, and having the deejay spin music that fore-shadowed the evening's musical choices.

The opening piece, a world premiere titled Prologue, a duet between Leichter and Byrne, showed that, once again, they are a thrill to watch. Perhaps it's because Leichter, while muscular and pulsing with physical strength, seems to allow a more feminine side of his dancing to arise when he partners with Byrne. And Byrne, already strong in body and technique, beefs up her femininity. This all creates nice tension, without looking like another postmodern gender switch.

The choreography of Prologue was most effective when the two were physically close together, though their emotions might be divided. It was least effective when they broke apart, since it seemed that the choreography dribbled off.

Later in the program, Byrne and Leichter performed another duet, 1998's Good Cop, Bad Cop. Backed by the music of R&B artist D'Angelo, the two characterized lovers on the edge. Byrne, looking a little like a brunette Marilyn Monroe, swayed haughtily next to Leichter, who performed bumps and grinds. This much more polished piece again displayed their natural talent of dancing together.

Leichter's use of hip-hop and R&B music is unmatched in modern dance. He's one of the only choreographers who can use today's popular music without allowing the song to carry the emotional experience.

In No Closer (1998) the company of six performed a multitude of unison sections, which helped to create a celebratory scene. These parts pleased, and were lighthearted, but at times seemed to call for something deeper. Leichter busting out one of his indefatigable solos, maybe.

In Worth, a New York City premiere, the company let their scant dresses fall to their ankles in a drop-your-drawers celebration. Half the piece being danced in tighty-whiteys for the men and bra and panties for the women drew away from the choreography for obvious reasons, though it was still titillating to watch.

In Baby Doll, another New York premiere, Leichter again solos, this time as a businessman breaking out. Leichter alone is like a gun ready to go off: eyes bulge, arms strain, teeth glare. But the heaps of anguish and frustration that his movement shows is sometimes stunted by his tendency to halt everything in mid-sentence, as though he were checking the audience for response.

Clearly, the focal point of nicholasleichterdance is Leichter himself. Though he's a self-effacing person, his natural presence as a performer overshadows his dancers. His company, Daniel Clifton, Holly Handman, Lucia Horn, Amy Larimer, Clare Byrne, and Stephen Williams, however, all delivered solid performances. His challenge as a choreographer is to bring the same drama felt in his solos to his larger group pieces.