Pony Cam's Meta-Dance: Juggling, Reviews & Festival Archives

Australia's Pony Cam delivered a meta-theatrical stunt at the Fall for Dance Festival, cramming elements from 22 past editions into a 35-minute comedic dance theater piece. Titled "kinda like that," the performance playfully critiqued the festival's archive, noting prevalent solos and shirtless dancers.

The festival itself was a populist showcase, presenting a varied lineup. This included the Australian Ballet's "Seven Days," described as an expertly danced display of pretentiousness, and Miami City Ballet's "Roses from the South," a more balanced rendition of Strauss waltzes. San Francisco Ballet's "Faun" and Stuttgart's "Echo: Sog" explored dance history, while Gauthier Dance offered a strong rendition of Hofesh Shechter's style.

Among the international offerings was Israel's Lior Tavori Dance Company performing "Crust," an eccentric and surreal piece that touched on societal upheaval. This performance occurred on a program that required audience members to pass through metal detectors, a stark contrast to the festival's usual atmosphere and the Arabic motto of peace displayed on stage.

Other performances included the Royal Ballet's "Paganini -- The First Virtuoso," critiqued for its empty virtuosity, and Spanish dancer Juan Tomás de la Molía's solo. Pony Cam's piece concluded by reciting a New York Times review of Eiko and Koma's "Snow," a poignant tribute to the historical significance of dance criticism.