Scorpius Dance Theatre definitely knows how to create an atmosphere. Walking into the Phoenix Little Theater on May 22nd, large clocks hung from the ceiling over beds and stairways while ticking sounds filled your ears. It felt like home, but uncomfortable, setting the audience up for David and Lisa: an unusual love story.
Glancing through the program you come across “Doctor’s Notes” informing us of why this love story is unusual. The main characters suffer from mental disorders such as paranoid personality and dissociate identity disorder. Lisa Starry also makes a brief announcement before the show stating this hour and fifteen minute performance was inspired by the 1962 movie David and Lisa. She gives no hints as to what the movie is about (rightfully preventing spoilers), but from further internet research love blossoms between two students in a boarding school that is specialized for teens with mental disorders. Other than Lisa’s brief announcement, the front to back analysis of the program, and my own personal research of the film, the actual performance has a tough time alluding to the fact they are mentally disabled and not just troubled or moody teens, but that’s not the main concern here. Throughout the show it is clear, despite their problems (whatever they may be), David and Lisa find each other, fall in love, and help each other grow.
There is not a whole lot of non-pedestrian movement in the entirety of this show. The choreography is generic and unoriginal, but that is part of the reason why the plot was so very clear. The overly literal movement makes it impossible for the audience to second guess the meaning of the overall story, but it also undermines the capabilities of this professional dance company. Each character had about three signature moves that never really evolved into sequences that matched the complexity of their characters. There would be moments that hinted, such as the well structured “School Trip” scene that allowed all the character’s personalities to blossom while being visually stimulating, but just as the choreography started to add intensity and depth, Starry would fall back into her comfort of miming movement.
Two performers in particular helped contribute to the clarity of the show by demonstrating their ability to capture the quality and intention of their characters. Lisa (Tricia Vander Woude) exuded child-like behavior. Her carefree quality gave her presence a magical feel that infested the theater. When her dancing exceeded her gestures, she was controlled and graceful adding an elegance to the show. The Mother (Nicole Olson) was a intense character quite the opposite of Lisa. She was poised, but creepy. It was easy to understand how a mother this cold could produce a son such as David that distrusts others and fears being touched. Olson’s most beautiful moment came in her solo during the “Mother’s Goodbye” scene, showing the small amount of sympathy and concern her character possesses. Her movement is no longer precise, and her porcelain face breaks. It is a beautiful and refreshing personality shift to witness.
Unfortunately, David (James Marinaro) was not as captivating as Olson or Vander Woude. He was certainly committed to his character, but it was over the top. There were moments he would grab his stomach and contract his shoulders in angst or contort his face so much I could not tell which emotion he was going for.
Overall, the show was pleasant and entertaining, but it was lacking that umph that makes it phenomenal. There were moments I thought between the flawless production of music by Kristofer Hill and Ryan Breen, the brilliant lighting design of Mike Eddy and Stuart Bailey, and the commitment of the dancers (including those of the entire production), it was going to reach that level, but it was always cut short, leaving me satisfied when I left the theater, but not inspired.
Cerrin, Phoenix, Server/Dancer
Monday, May 26, 2008
Friday, May 16, 2008
CONDER/dance and Collision
CONDER/dance demonstrates a level of professionalism that any other company in the valley has a hard time matching. Their show, Collision, wrapping up the 2007-2008 season is no exception, only reconfirming the strength and capability of this company.
Although the first piece, Verano, choreographed by Carley Conder herself, struggled momentarily in the beginning with timing and intensity, as soon as the music and movement picked up the dancers regained their composure showing the audience exactly what passion they instill into movement.
Other pieces choreographed by Conder were group piece Moving Target and trio The Private Sector. Both were athletic and exciting. Moving Target with fierce and animalistic undertones, while The Private Sector displayed flirty and fun vibes. Even thought the choreography was similar, the theme and mood of each piece was so varied the entertainment level still remained high.
The Conder dancers also performed choreography by Christina Harrison and Mary Fitzgerald. Harrison’s work The Defining Line and Ode to the Blue Nudes still impacted me in the same manner from the first time I saw them. They are completely inspiring pieces, both thematically and architecturally. The soloist in The Defining Line is captivating with her intense focus and clear sense of character. The combination of brilliant performance quality and choreography was touching. And of course Fitzgerald’s The Weight of Light never gets old no matter how many times I see it. That first explosion of light paired with the booming sound that casts shadows of the dancers on the back wall still gives me the goose bumps.
CONDER/dance graciously invited two Los Angeles based companies, Keith Johnson/Dancers and Nugent Dance, as well as Robert Dekkers from Ballet Arizona. The Conder dancers and choreography completely out-shined these guest companies. Keith Johnson’s, The Presence of Absence started strong with the dancers showing complete ease of intricately moving through, in and out of each other’s space. But this piece is long, very long. About seven minutes in, the repetition got to me and many other people in the audience. We all squirmed with anticipation for the end.
Stephanie Nugent’s soloist in Circa One had the incredible ability to clearly display contrasting dance elements. One moment she would be flighty and light, then suddenly shift into heavy and grounded. She would strike sharp and definite, then smooth things over. But even with her convincing performance, I was constantly distracted by the musicians setting up for Moving Target back stage. I kept wondering if the motion behind the scrim was suppose to be part of the solo or not.
And, I must say, for being dancers of Arizona’s most successful dance company, the Ballet Arizona dancers of IV:XI were a huge disappointment. Male dancer, Ryland Early, struggled with the transition of every body contact moment, both in and out, while female dancer Chelsea Saari had trouble finding her balance. The choreography was bland and uneventful with a very confusing and abrupt ending. Seeing Ballet Arizona’s name in the program was exciting. Unfortunately their presentation failed to live up to their name.
Regardless, it is always refreshing to see unfamiliar choreographers and dancers, even if their work was not at the same caliber of CONDER/dance.
All in all, this concert clearly shows that CONDER/dance strives for perfection on many levels. Artistically they are presenting movement that is athletic, but has a purpose and is meaningful. Technically their dancers are capable of handling both performance dedication and movement perseverance.
Cerrin, Phoenix, Server/Dancer
Although the first piece, Verano, choreographed by Carley Conder herself, struggled momentarily in the beginning with timing and intensity, as soon as the music and movement picked up the dancers regained their composure showing the audience exactly what passion they instill into movement.
Other pieces choreographed by Conder were group piece Moving Target and trio The Private Sector. Both were athletic and exciting. Moving Target with fierce and animalistic undertones, while The Private Sector displayed flirty and fun vibes. Even thought the choreography was similar, the theme and mood of each piece was so varied the entertainment level still remained high.
The Conder dancers also performed choreography by Christina Harrison and Mary Fitzgerald. Harrison’s work The Defining Line and Ode to the Blue Nudes still impacted me in the same manner from the first time I saw them. They are completely inspiring pieces, both thematically and architecturally. The soloist in The Defining Line is captivating with her intense focus and clear sense of character. The combination of brilliant performance quality and choreography was touching. And of course Fitzgerald’s The Weight of Light never gets old no matter how many times I see it. That first explosion of light paired with the booming sound that casts shadows of the dancers on the back wall still gives me the goose bumps.
CONDER/dance graciously invited two Los Angeles based companies, Keith Johnson/Dancers and Nugent Dance, as well as Robert Dekkers from Ballet Arizona. The Conder dancers and choreography completely out-shined these guest companies. Keith Johnson’s, The Presence of Absence started strong with the dancers showing complete ease of intricately moving through, in and out of each other’s space. But this piece is long, very long. About seven minutes in, the repetition got to me and many other people in the audience. We all squirmed with anticipation for the end.
Stephanie Nugent’s soloist in Circa One had the incredible ability to clearly display contrasting dance elements. One moment she would be flighty and light, then suddenly shift into heavy and grounded. She would strike sharp and definite, then smooth things over. But even with her convincing performance, I was constantly distracted by the musicians setting up for Moving Target back stage. I kept wondering if the motion behind the scrim was suppose to be part of the solo or not.
And, I must say, for being dancers of Arizona’s most successful dance company, the Ballet Arizona dancers of IV:XI were a huge disappointment. Male dancer, Ryland Early, struggled with the transition of every body contact moment, both in and out, while female dancer Chelsea Saari had trouble finding her balance. The choreography was bland and uneventful with a very confusing and abrupt ending. Seeing Ballet Arizona’s name in the program was exciting. Unfortunately their presentation failed to live up to their name.
Regardless, it is always refreshing to see unfamiliar choreographers and dancers, even if their work was not at the same caliber of CONDER/dance.
All in all, this concert clearly shows that CONDER/dance strives for perfection on many levels. Artistically they are presenting movement that is athletic, but has a purpose and is meaningful. Technically their dancers are capable of handling both performance dedication and movement perseverance.
Cerrin, Phoenix, Server/Dancer
Sunday, May 4, 2008
Dancing Amongst the Gardens
Yesterday, on May 2nd at the Phoenix Art Museum, anyone and everyone had the privilege to view and participate in Dance in the Gardens, a mini-show of Mary Fitzgerald Dance Projects and CONDER/dance.
The show began by expanding the definition of dancer, inviting the audience to involve themselves in a structured improvisation with the performers of the two companies. Each viewer was handed an index card with instructions. I was to copy and follow the shapes other people were creating. Not only was it an intriguing method for beginning a show, captivating an audience through involvement, but it was inspiring to see everyone dancing and creating movement together regardless of who they are or what they came to the even for. This “Three Themed Improvisation” was beautifully simple and a fun yet functional way to get everyone from the lobby of the museum to the gardens.
The Phoenix Art Museum has constructed a wonderful courtyard amongst the various areas of the theater and museum. Clean, linear, and sectional, it is obvious why the organizers of this show found the sculptures and plant-life a perfect area for dance.
CONDER/dance performed an excerpt of “Moving Target“, choreographed by Carley Conder, and “Ode to Blue Nudes,” choreographed by Christina Harrison. Both are pieces I have seen performed on the stage before, but dancing on wet grass did not hinder the power and precision of this group. Sitting so close, the intensity and strength of each individual was captivating, giving new life to pieces I have seen before.
Mary Fitzgerald Dance Projects presented “Section 1 The Borders Between Us“, a piece inspired by the rapid development of the Phoenix area. Mary Fitzgerald’s movement was physical yet intricate, and sincere while displaying intensity. The performers matched the message of the movement with their power, focus, and accuracy. The performer’s sense of space in their own kinesphere as well as in each others was ever expanding. Never once did they shrink in size. The video (created by Arina Melkozernova), the music , the scenic garden, the choreography, the dancers worked so well together, it immersed the audience an environment that did not evaporate until dancers left the space.
Although short, Dance in the Gardens was a stimulating show for the senses. The cool night air, the sweet smell of flowers, the music created and chosen for the pieces, the art work and movement to watch and create yourself immersed the participants and viewers into a unique dance experience. I consider myself lucky and grateful to have experienced this show myself.
Cerrin, Phoenix, Server/Dancer
The show began by expanding the definition of dancer, inviting the audience to involve themselves in a structured improvisation with the performers of the two companies. Each viewer was handed an index card with instructions. I was to copy and follow the shapes other people were creating. Not only was it an intriguing method for beginning a show, captivating an audience through involvement, but it was inspiring to see everyone dancing and creating movement together regardless of who they are or what they came to the even for. This “Three Themed Improvisation” was beautifully simple and a fun yet functional way to get everyone from the lobby of the museum to the gardens.
The Phoenix Art Museum has constructed a wonderful courtyard amongst the various areas of the theater and museum. Clean, linear, and sectional, it is obvious why the organizers of this show found the sculptures and plant-life a perfect area for dance.
CONDER/dance performed an excerpt of “Moving Target“, choreographed by Carley Conder, and “Ode to Blue Nudes,” choreographed by Christina Harrison. Both are pieces I have seen performed on the stage before, but dancing on wet grass did not hinder the power and precision of this group. Sitting so close, the intensity and strength of each individual was captivating, giving new life to pieces I have seen before.
Mary Fitzgerald Dance Projects presented “Section 1 The Borders Between Us“, a piece inspired by the rapid development of the Phoenix area. Mary Fitzgerald’s movement was physical yet intricate, and sincere while displaying intensity. The performers matched the message of the movement with their power, focus, and accuracy. The performer’s sense of space in their own kinesphere as well as in each others was ever expanding. Never once did they shrink in size. The video (created by Arina Melkozernova), the music , the scenic garden, the choreography, the dancers worked so well together, it immersed the audience an environment that did not evaporate until dancers left the space.
Although short, Dance in the Gardens was a stimulating show for the senses. The cool night air, the sweet smell of flowers, the music created and chosen for the pieces, the art work and movement to watch and create yourself immersed the participants and viewers into a unique dance experience. I consider myself lucky and grateful to have experienced this show myself.
Cerrin, Phoenix, Server/Dancer
Subscribe to:
Posts (Atom)
