Dance March 1988
On Danny Buraczeski’s Jazzdance company, the Ice Capades & a revival of Jerome Kern’s Sally.
Danny Buraczeski calls his company “Jazzdance,” the verbal conflation evidently intended to distinguish it from the generic “jazz dance,” a catchall used to refer loosely to show dancing. As anyone who has seen A Chorus Line knows, Broadway gypsies today are expected to know ballet and tap as well as traditional jazz. Buraczeski, himself a former show dancer, has transposed this hybrid form from its commercial context to the concert-dance stage and used it to choreograph composed jazz music for himself and his eight-member troupe.
On the evidence of his last New York program (January 19-24 at the Joyce Theatre), Buraczeski takes a balletic approach to jazz, eschewing tap and indulging only rarely in shoulder and pelvic isolations. His bulky physique is also a limiting factor of his movement vocabulary. Many of his dancers, too, have less than ideal bodies, and the...
New to The New Criterion?
Subscribe for one year to receive ten print issues, and gain immediate access to our online archive spanning more than four decades of art and cultural criticism.Subscribe