Like her recent creations Bertolina and Makarova Kabisa, Sharon Eyal’s latest work, Bill, is carefully designed, with clear, straightforward overall sound and visual concept.
The three creations are strongly empowered by close collaboration with top light designer Avi Yona Bueno (Bambi), who provided the strongest visual effects of the evening, and musician Ori Lichtig, a renowned DJ and one of the founders of local techno scene. Eyal also gives credit as co-creator to her life partner Guy Bachar.
The stage is dominated by dancers clad in nude-color overalls, their faces and hair sponged with thick, uniform skin-tone makeup. With pulled-back hair and chignon on top, the female dancers look like cloned figures that match the synthesized aura produced by their male counterparts. The simple rhythms are persistent with strong, repetitive bit of techno (some may label it tech-house). This is one of the factors which detract from the attributes of the body language used by Eyal. Although rich and detailed, it carries a mechanical aftertaste, regardless of its virtuoso nature. Dancers are in constant motion, often with fragmented realignment. The motions are contorted, stretched, undulating and frayed – an impressive, yet sterile, repertoire.
There are twenty one Batsheva dancers on stage, often grouped in various compositions, but each is an island. They seem to be focused inwardly, acknowledging the presence of others for practical purposes only.
In the final 10 minutes, Eyal changes the tone to a romantic ode with a languid pop tune – “No, I don’t want to fall in love again.” And all of the Gaga adherents go gaga for love, forming heart shapes with hands, feet and fingers.