Telling Tina’s Tale With a Sense Of Serenity
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
Tina Turner has suffered from no shortage of public examination – given her autobiography, biopic, and legs that have been ogled at for decades. But there’s always room for more Tina.
Choreographer Gabrielle Lansner has taken this familiar subject into new territory with a work of dance inspired by the legendary singer. “River Deep, a Tribute to Tina Turner” uses none of Ms. Turner’s songs. Instead, it is set to an original score (by Philip Hamilton) of new songs and peppy dance numbers that evoke the spirit of the 1960s and ’70s.
In just about an hour, Ms. Lansner does what she knows how to do quite well: examine the human side of pain and renewal. Woven into the piece are spoken-word monologues by dancers who represent Ms. Turner’s backup singers and her manager. Pat Hall – a commanding singer and dancer who represents Ms. Turner – tells the singer’s story with a sense of serenity.
The bulk of the information imparted by “River Deep” comes from Ms. Turner’s autobiography, “I, Tina,” which Ms. Lansner and her dancers all read and discussed. But the impetus to do a tribute came to Ms. Lansner not because she is a lifelong fan, but because she found in Ms. Hall a gem of a Tina.
Why are there no songs by Ms. Turner? “If you hear one, you expect to hear more,” Ms. Lansner explained, adding that the collaborators wanted to create something fresh.
Ms. Lansner’s previous works have taken on issues like the South African Truth and Reconciliation Commission and the Holocaust. Compared with those subjects, Tina Turner seems light and breezy. But “River Deep” digs deep into the way Ms. Turner and the women around her dealt with Ike Turner, drugs, fame, and loss of fortune.
The show is not a downer, however. It gives audiences a fresh look on a well-known subject, and it is, as the name suggests, a tribute. Its ultimate message is about the resiliency of the human spirit.
January 20 to February 4 at the Peter Jay Sharp Theater (416 W. 42nd Street, 212-279-4200).
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If futuristic performance art is your thing, you might want to check out Ibrahim Quraishi’s “5 Streams,” which will be presented at Asia Society. Mr. Quraishi, who is based in Paris and New York, has created a multimedia work that explores the “physical and cultural geography of South Asia.”
The “five” in “5 Streams” relates to a variety of themes: the five tributaries of the Indus River, the five core nations of South Asia (India, Pakistan, Bangladesh, Nepal, and Sri Lanka), the five pillars of Islam, and the five principles of Hinduism. These ideas are represented by sounds, vocals, dance sequences, video streams, live percussion, and projected visuals. To put all this together, Mr. Quraishi brought in sound and video artists, as well as dancers, singers, and musicians.
On paper, this sounds like quite a lot. And surely it will be onstage. But this high-concept work is made by an ambitious artist who is synthesizing ideas and taking risks.
January 18 & 19 at 7 p.m., January 20 at 8 p.m., January 21 at 3 p.m. & 7 p.m., and January 22 at 3 p.m. at Asia Society (725 Park Avenue at 70th Street, 212-517-ASIA).
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Fans of both American Ballet Theatre’s Jose Manuel Carreno and Elizabeth Parkinson from the Broadway show “Movin’ Out” are in luck.There’s a way to see these magnetic dancers on stage together for the first time.
Both will be guest-starring in a showcase of work by Igal Perry, choreographer of the Peridance Ensemble and founder of the Peridance school. Mr. Perry, who has created works for many companies (including ABT), fuses modern dance, ballet, and jazz. For Mr. Carreno and Ms. Parkinson, he has made a duet set to the luscious sounds of Caetano Veloso.
If you’re keen to see these two, take note of the dates. Mr. Carreno will be dancing on January 26 and 29. Ms. Parkinson will dance at all the evening performances. At $35, tickets to this performance are far less expensive than it would be to see either of these dancers in their natural habitats. There are also two gala performances (one to support Dancers Responding to AIDS).
January 26 & 27 at 8 p.m., January 28 at 3 p.m. & 8 p.m., and January 29 at 5 p.m. at the Gerald Lynch Theater at John Jay College, (899 Tenth Avenue at 58th Street, 212-279-4200).
