Henning Rübsam skillfully toys with us and his props.

Theatricality, eccentricity, wit, and affection defined the evening at The Kaye Playhouse.

Christine Jowers, The Dance Enthusiast, November 3, 2015

Henning Rübsam brought a diverse program to The Kaye Playhouse... sexy, wiggly, multi-directional, and gestural. Mr. Rübsam shows originality and humor throughout.


And There Was Morning, the second premiere, ... in gorgeous summery costumes, dancing to an original recorded score by Beata Moon, the ensemble playfully romps about the stage... with the lyrical, bucolic music propelling leaps, lifts, and en air motion. 


An ensemble of seven appeared for the premiere of Combat del Somni, with live music by Ricardo Llorca, performed by Rosa Torres-Pardo on piano and Bruno Axel on violin. Eloquent and ethereal..., the dancers move like winged butterflies, with luscious lifts and airy stage flight. (They) exuded a balletic aura and showed good technique and attitude. In fact, all the performers tonight were poised and brimming with stage presence.


The final work in the premiere repertory was Mr. Rübsam’s Grand Canyon. The entire ensemble, including Mr. Rübsam, performed onstage. Like the layers of the Grand Canyon, the ensemble, in shades of purple, blue, brown, orange, and gold, dance with ebullience and fervor, sometimes holding hands to create the wavy color effects of the canyon. All entertaining and all artistic.

Roberta on the Arts” - Dr. Roberta E. Zlokower - November 2, 2015


Now in its 22nd season, choreographer Henning Rübsam’s company SENSEDANCE presented three premieres alongside earlier works in a program styled Two by Two.

Rübsam, a resident choreographer for Hartford City Ballet and on faculty at Juilliard, appeared in two of his pieces on the evening.

The program’s title references the pas de deux that made up the bulk of the program, and it was in these pieces that Rübsam was at his best. The choreographer showed his sense of humor in Save the Country and Russian Lesson (music by Laura Nyro and The Grooves, respectively). Save the Country, with its flashes of violence, playfully contradicted the breezy folk-pop throughout the piece. In his wry and cocky Russian Lesson, Rübsam’s two male dancers (Juan Rodriguez and Matt Van) strutted to a mod groove while a French voice gave a baffling crash course in Russian.

                                                

EYE ON THE ARTS, NY – Geoffrey Lokke, November 26, 2013



Choreographer, writer, scholar, the German born Henning Rübsam honors balletic traditions, crafting his dances with musicality, clarity, and nuance.

The Dance Enthusiast, Deirdre Towers,

Nov. 26, 2013


...Spoken word features also in BORDERS, a stylized and other-worldly duet danced by Temple Kemezis and  Henning Rübsam; this displayed Mr. Rübsam's choreography at its most impressive, and Temple, with her unique look and potent dancing, seemed wonderfully at home in this dancescape.
The evening's final new work was SARAO, a jazzy pas de deux to music by Ricardo Llorca. This piece featured some of the evening's most imaginative partnering and was finely executed by Erin Ginn & Matt Van.
                                                                                                                 

Philip Gardner - OBERON’S GOVE, November 25, 2013


Save The Country (from ART OF LOVE a tribute to Laura Nyro – 1997) is free and breezy with a spine tingling close as Oisin Monaghan twirls Jacqueline Stewart with her feet aloft. Aside from the delightful Save the Country, two of three premieres Russian Lesson and Sarao stood out for their intriguing ambiguity, and indirect communication. The scores for both these works are fascinating, The Grooves being oddly seductive and understated, while Ricardo Llorca’s piano solo is passionate and sophisticated. His guitar composition for Caves is also fabulous. In Russian Lesson, Juan Rodriguez moves with relaxed precision, seemingly an aloof, calculating loner willing to while away some time with another stranger.

The fact that Rübsam’s newest works have more emotional shading bodes well for the company’s evolution. Roundly applauded by a full house, Sensedance's program proves that a small ballet company with a single choreographer and small budget can thrive.

                                          

The Dance Enthusiast, Deirdre Towers, November 26, 2013

 

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