Anima Animal (Grupo Cadabra)
An Argentine ballet star and his group visit New York City with a fascinating new work.
Herman Cornejo (center) and Grupo Cadabra’s in a scene from Anabella Tuliano’s “Anima Animal” at The Joyce Theater (Photo credit: Carlos Villamayor)
If any ballet cried out for colorful scenery and costumes, it’s Anima Animal at The Joyce Theater in Chelsea. More production would have clarified this otherwise well-constructed work.
Featuring ballet great and former American Ballet Theatre star, Herman Cornejo in the leading role, Anima Animal was choreographed by Anabella Tuliano on Cornejo’s ballet concert group from Argentina, Grupo Cadabra.
A creation-themed work, the long program notes detailed the complex folk vision of the world, a story that once fascinated the legendary ballet titan, Vaslav Nijinsky when the Diaghilev Ballets Russes toured South America during the First World War.
Grupo Cadabra’s Herman Cornejo in a scene from Anabella Tuliano’s “Anima Animal” at The Joyce Theater (Photo credit: Carlos Villamayor)
A quick overview of the plot as told in the program notes: After an explosion in the void of the universe led to the creation of humans who must go through many stages to realize “the essence of the animal spirit within,” a warrior, Guyra (Cornejo), on a personal journey, meets Yvy, a woman of a different tribe. Inadvertently he causes her death and morphs into a bird “soaring off into the darkness toward a celestial eternity.”
The lack of scenery and costumes put a heavy burden on Tuliano’s choreography which was generic, if clever, in nature. For those who hadn’t read the program notes before the performance, Anima Animal slowly unreeled in the ebb and flow of a group of similarly clad performers: the women in brown leotards, the bare-chested men in brown tights. Cornejo’s fame and solo turns saved him from obscurity amidst the cast. (The costumes were designed by Tuliano and Elsa Schenone.)
At first, the dancers performed as a group with a smattering of solos. They pulsed their bodies into concave shapes as they softly stomped about as if they were performing a well-worn ritual, until dissension reared its ugly head. Dancers peeled off the ensemble and re-formed into independent groups, doing twisty steps.
Herman Cornejo (above) Ximena Tamara Pinto (on floor) with Grupo Cadabra’s in a scene from Anabella Tuliano’s “Anima Animal” at The Joyce Theater (Photo credit: Carlos Villamayor)
What Tuliano communicated was a community, a tribe, from which emerged the extraordinarily talented soloist (Cornejo) in a subtle performance with only occasional hints of his virtuosity.
As the colorful and varied score by Luis Maurette “Uji” and Noelia Escalzo—electronic sounds, Latin rhythms and lush harmonies—underlined the movements, Anima Animal evolved slowly, if not always with clarity.
Cornejo was occasionally lifted but didn’t interact much with the ensemble except to tread, jump and spin energetically through them. The lead woman, Ximena Tamara Pinto (passionate and intense) isolated herself from the others and danced sensually with Cornejo.
Herman Cornejo and Grupo Cadabra’s in a scene from Anabella Tuliano’s “Anima Animal” at The Joyce Theater (Photo credit: Carlos Villamayor)
She eventually was overcome by the machinations of the ensemble which appeared to rumble with each other around her as if in battle. She fell to the floor to be mourned by Cornejo who was once again lifted high atop the group to simulate his transformation.
Helped by the dramatic lighting of Clifton Taylor, Anima Animal was well danced by this group who shared a dramatic intensity. Even if the plot was a bit foggy, enough drama was conveyed to make the actual plot irrelevant.
Anima Animal (through February 23, 2025)
The Joyce Theater, 175 Eighth Avenue, in Manhattan
For tickets, call 212-242-0800 or visit http://www.Joyce.org
Running time: 55 minutes without an intermission
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