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“MAX” – Connecting to Ohad Naharin’s Choreography

Posted on 20 February 2009 by Deborah Friedes Galili

(Video: A trailer for BAM’s presentation of Batsheva Dance Company in Ohad Naharin’s MAX)

This is an excerpt from “Two Views of Batsheva: Ohad Naharin’s Furo and MAX,” which was published on The Winger on May 17, 2008.  The Batsheva Dance Company will perform MAX in Santa Barbara (Feb. 24), San Diego (Feb. 26), Los Angeles (Feb. 28 – Mar. 1), and Brooklyn, NY (Mar. 4-7).

* * *

During the brief blackouts in Ohad Naharin’s MAX, I quickly tore my eyes away from the stage to steal glances at my friend Nitzan.  Each time I caught variations of the same expression on his face: eyes wide with amazement and mouth stretched into an even wider grin.

I’ll be the first to admit that I’m a bit of a “dance dork” (a few of my friends and I threw around this term frequently during graduate school). With my penchant for dance history and analysis, I’m probably not the typical audience member.  Give me a brilliantly-crafted piece and I will fall in love, counting the ways in which the choreography captures my attention and my affection.

Love at first sight is possible in the arena of dance, but sometimes even the most excellent work takes a bit of time to win over my heart fully.  Such was the case with Ohad Naharin’s MAX.  I first saw MAX in December, and due to fatigue, I didn’t take in the dance with the freshest eyes.  When I re-read my files before this second viewing, I saw that I had taken only a few hasty notes which focused on extremely satisfying sections marked by fine compositional structure.  But after tonight’s performance of MAX, I’m in love. At least in my eyes, the work as a whole is indeed brilliant.

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