moving words

A Vampire Tale Makes Some Changes

2008-11-12T12:31:00.000-08:00

It's closing night and the Phoenix Theatre's Little Theatre is sold out for Scorpius Dance Theatre's A Vampire Tale. This is the third year in a row I have come to watch the story of the Forlorn Girl get sucked into the world of the undead and each year Lisa Starry(Director/choreographer) makes some artistic changes. I had heard rumors that this year the show included more aerial dance, new company members, and more theatrical make-up. I'm not going to lie, I was incredibly curious.

As soon as I walked into the theater, the direction of the stage had completely changed. It was flipped horizontally to provide much more space for the numerous dancers and sets coming and going throughout the show. I immediately missed the vampires mingling in the audience from years passed, but quickly forgot my longing as the Strange Man (Eric Boudreau) entertained the audience with skill and ease. He was a fearless improviser, quick to adjust to audience reaction, turning every occurrence into an amusing situation.

Having the stage facing the an atypical direction prevented the use of a curtain, presenting some creative transitioning techniques, but also causing some problems. The entire vampire world was already exposed to the audience from the moment they entered the theater. There was not the same surprise I generally feel when I see the vampire lair for the first time when the Forlorn Girl is lured by the Watcher. The lack of curtain also made watching the intimate duets between Forlorn Girl and the Watcher difficult. I was constantly drawn to what the other vampires were doing, such as setting up props, completely missing the main plot of the story. Otherwise, the directional change of the stage proved to be a success, giving the dancers much more space and letting the audience get an intimate view of the characters.

As for choreographic changes, there were many, most of which improved the dynamics of the show drastically. The movement was more athletic. There was less unison, replacing it with more intricate spatial design. And most importantly, there was less standing around time. There was, indeed, more aerial work sprinkled throughout the show with the help of guest choreographers Travis Mesman and Nicole Graffeo, which entertained the audience thoroughly. Even though Travis Mesman's "boot disc" scene, in which he used a ski boots bolted to a rotating disc to twist, hover, and bend in fascinating ways over a circle of lust filled female vampires proved to be a favorite of most audience members, nothing happened. The same five to six basic tricks on the boot disc were used over and over again with no variation in arms or torso, while the vampires longingly reached for his failing body for many minutes without variation as well. The scene added nothing to the plot and felt like a cheap gimmick, when in actuality it has the potential to do so much more. An interesting concept of using and innovative prop left me, but definitely not most of the audience members, disappointed.

The overall quality of dancers was also improved this year. The new additions to the company proved to be a good idea increasing the caliber of technical ability. As always, David Starry flawlessly protrays "the Watcher." He is amazingly lonely and sad while not making much facial expression, but rather exuding his character through his eyes and posture. During one scene in particular, the dinner scene, I could not stop watching him while the chaos continued all around him. He was perfectly disengaged from the rest of his vampire kind, showing his discontent with his life. Andrea Chesley was a nice "Forlorn Girl," but I was very distracted by her poorly fitting costume, concerned a breast was going to pop out at any moment. There were numerous times of "secretly" adjusting her top.

This year as A Vampire Tale ended, I nodded my head in an agreeing manner, satisfied with the changes made. Do I think this show has more improvements to be made? Of course, but I do believe this show is heading in a much more exciting and interesting direction and hope it continues to do so for future shows to come.

Cerrin, Phoenix, Dance Teacher

Short and Sweet: Scorpius Dance Theatre Presents David and Lisa

2008-05-26T01:09:00.001-07:00

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

CONDER/dance and Collision

2008-05-16T14:56:00.000-07:00

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

Dancing Amongst the Gardens

2008-05-04T00:59:00.000-07:00

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

Emerging Artists II, Presenting Artists That Will Impact the Modern Dance World

2008-02-20T12:58:00.001-08:00

ASU produces many concerts throughout the school year demonstrating why their dance department is so highly ranked in the US. Performance majors Cassandra Roberts and Katherine McCaskill, as well as dance studies major Kelley Doherty are three examples of excellence emerging from the undergraduate program at ASU. In a weekend long performance (Febuary 14th-17th) the three seniors presented their capstones, showing the range and capabilities of young dancers graduating from ASU’s dance department.

The show began with Cassandra Roberts’ contemporary ballet solo, choreographed by Jennifer Keane Ackermann. “The Voice Within” was a pleasant solo with pretty movement and music. The lines of the body were classic and simple, but by no means easy to perform. This six minute piece of jumping, balancing, and extending showed off what Roberts does best. Her beautiful control of her long limbs and clear understanding of proper alignment portrayed Ackermann’s movement with cleanliness and stability making this solo and impressive beginning to the show.

Before intermission, McCaskill performed Mary Fitzgerald’s “Stilling the Cycle,” a piece reflecting the Buddhist concept anicca (impermanence), as explained in the program notes. Fine salt poured from the top of the stage into small pools in each corner, symbolizing the ever changing state of life. The constant flow of salt juxtaposing McCaskill’s ability to change dynamic qualities as well as suddenly stop her movement provided the audience with contrasting images. Even though McCaskill attempts to gain control over life, even becoming somewhat violent and angry through the movement, the sand falls calmly around her. Eventually the dance breathes and she gives into the natural flow of life, taking the audience on a spiritual journey. McCaskill’s strength, flexibility, and technique were never a let down. Her focus and intention remained strong and captivating. Fitzgerald provided her with a powerful solo that contained a powerful message that McCaskill delivered to the audience flawlessly.

Closing the show was Doherty’s group piece and solo “Structural Adjustment.” Not only does Doherty demonstrate her ability to choreograph interesting movement as well as intelligent concepts, she shows her performance skills are worthy of the same praise. Her twenty minute piece explains the harm of structural adjustment programs in underdeveloped countries. Through movement and text, the performers describe the theories for and harmful effects behind these programs. Although the piece is twenty minutes long, I never tuned out or became disinterested. Each section is drastically different in movement quality and information provided to the audience. It is an incredible feat for a young choreographer who shows a promising future for intelligent choreography.

Other work in the show was choreographed by Brett Ebling and performed by Lydia Sakolsky-Basquill.

It is exciting to see the development of new dancer artists emerging into the professional field. Roberts and McCaskill (both also present in Doherty’s piece) displayed their wide range in artistic ability through a variety of technical demonstrations as well as speaking on the stage. Doherty showed not only the capability of composition, but the ability to embody and perform. I tip my hat to these young dancers and hope to see their art in the future.

The 3rd Annual Phoenix Experimental Arts Festival A.K.A. X-Fest

2008-02-14T13:14:00.000-08:00

This past weekend, Paradise Valley Community College (PVCC) hosted the 2008 Experimental Arts Festival. Running for two days, this festival displayed contemporary art from a variety of categories. Each night, the theater performance had a different program, making it possible to see two nights of different performance art. I went on Friday, February 8th. In the lobby of the Center for the Performing Arts of PVCC, musicians played improvised electro-acoustic on classic instruments as well as unconventional items . The walls were lined with visual art that used various forms of media. After seeing and hearing the intriguing art in the lobby, I was excited to see what would be presented on the main stage.

The show began with a percussionist, Brett Reed from Crossing 32nd Street, who exuded passion through every inch of his body as he impressively played two different rhythms and intensities at once. Michael Gordon’s musical composition “XY” was followed by the group Office of Peculiar Scenes presenting the audience with serious body image topics through a series of amusing skits. Then the audience was given the opportunity to experience Kristen Loree playing the sad and pathetic vixen attempting to find her lover for the night in the audience. Loree demonstrated her ability to sing, act, and dominate the theater with her larger than life character. She had the entire audience laughing out loud one moment, feeling uncomfortable the next, while feeling sorry for her all at once.

The second half of the show consisted of three modern dance pieces that integrated other forms of art to add extra depth to the overall look and feel of the pieces.

“In the Temporal Dimension,” choreographed by Sonia Valle on PVCC dancers was a simple but clear piece blending the art of video and dance. The video in this piece was very well done by Arina Melkozernova. It contained the perfect amount of subtlety to make an impact on the piece without over powering the dancers or the choreography. The images of the subway and everyday people activity gave life to the gestures and spatial patterns occurring on stage. Although the choreography was minimal, the contact between the dancers was unexpected, keeping the piece interesting. Indeed, the dancers were unstable and unclear during unison phrases, but because of the human element in the choreography and video, the dancers’ weak technique was hardly bothersome.

Armadillo Dance Project presented “Playing with Liquid Mercury II,” in which choreographer Kathlaya Afanador collaborated with musician Allen Fogelsanger to produce a dance “in which movement interacts with other media via computer analysis of dancer-produced data.” Yes, that’s a lot of words. So, the dancers are being monitored by a computer. When the dancers move at a certain speed or in a particular area on the stage, specific melodies and noises come out for the audience to hear. This combination of the computer reacting to the dancers produced a cute and playful piece that the dancers were enjoying just as much as the audience.

Conder/DANCE performed “Moving Target,” a piece I reviewed in December for Breaking Ground 2007, but this performance was particularly exciting. The musicians of Crossing 32nd Street performed Steven Ricks’ composition live. The intensity of the live percussion raised the dancers’ intensity to a level I have not seen from this company, which says a lot. I am generally very impressed with the performers in Conder/DANCE, their precision and unbelievable sense of each other, and this performance is certainly no exception. They managed to go above and beyond their usual greatness. I was afraid the power of the drums in front of the stage would drown the dancers, but they embodied the force of the percussionists to create a thrilling experience.

Moving Words is Going Public

2008-01-08T18:55:00.000-08:00

I'm opening up my Moving Words blog to the public! Now anyone can send me their review of a dance-based show and I will post it on Moving Words under the stipulations that it is a well written and genuine review, and the author is not part of the show reviewed. Let's just say this is the beginning of a Rottentomatoes.com of the Arizona dance scene.

So please, send me your thoughts! Along with your first name, your age, and your job or professional field. Because I know I'm not the only one with an opinion about dance out there. All reviews can be sent to moving_words@hotmail.com.

*No changes will be made to the reviews without the consent of the author. I will contact the author about any changes that need to be made for grammar, punctuation, or spelling.

Breaking Ground 2007: An Adequate Show to Wrap Up the Year

2007-12-09T22:39:00.000-08:00

On December 7th, I was graciously invited to watch the dress rehearsal of Breaking Ground 2007, a choreographic conglomeration of “emerging and established” choreographers that were selected by an application and panel process organized by CONDER/dance. The nine pieces chosen were indeed diverse and interesting making an overall thoughtful and stimulating show.
Work was present by company’s Casebolt and Smith, CONDER/dance, Aaron McGloin Dance, Temenos Dance Collective, and 32 Flavors Dance Company, as well as individual choreographers Leonard Wood, Kristen Tovson, Martha E. Howe, and Wendy Ellis.
Casebolt and Smith premiered “Table For Two,” an incredibly clever duet performed seated at a table. The choreography, consisting entirely of gestures, took the concept of gestural movement to an astonishing level. Each movement was precise and provides the audience with a subtle, but readable message. The two work together flawlessly, showing their complete awareness of each others time, space, and energy. Even though the two were moving in a small amount of space (within the seating and table limits), never once was there a bonking of the hand on the edge of the table, or an accidental elbow to the face. The duet was never boring, predictable, or uncertain. As soon as one concept registered to the observer, they would unexpectedly change up the gestures keeping the spectators laughing and wondering what’s coming next.
Another work that caught my attention was Leonard Wood’s “Grunt.” Although the solo itself was not ground breaking or stunning at first glance, due to his superior use of all the elements to craft a piece, everything was clear and pleasant to watch. His choreography, text, music, costume and performance of character all blended together perfectly making his concept comprehensible while entertaining. His decision to speak in a raspy, weathered voice made the audience whole-heartedly understand the life of this character. His beige slacks and button up shirt demonstrated how average this man is. The sharp, staccato movement exemplified his daily repetition. And the music, a jazzy, swanky, easy-going tune, created an alternate personality for this struggling character. All around, the work was enjoyable piece, relatable to every human being.
“Moving Target” a premiere piece from CONDER/dance, Breaking Ground 2007’s host company, was a visually appealing work that played with musicality concepts and forceful imagery. Although the choreography was dynamic, large, and shapely, the company seemed less focused and aware of each other than I have seen in performances past. Generally their unison and partner work is flawless and it’s bewildering how well the company fits together. The space on the stage seemed far too small for eight dancers that all have large energy and kinespheres. They looked confined and squished. Otherwise, the construction of the piece was lovely. The relationship between the movement and music was very unexpected and although the space was small for the dancers, choreographically the use of space was very interesting. For instance, there were moments when the stage was divided into a slower movement section versus quicker movement, yet the music seemed to accent each side of the stage appropriately.
There were two pieces that stood out from the rest of the show as weaker, both from a choreographic and performance aspect. “Les Images De Temps (Images of Time),” choreographed by Wendy Ellis was a stark and simple duet, that turned out to be predictable and dull. Every transition was expected and nothing was a surprising due to the audible breath on every movement. The live piano was very eerie and intense, but unfortunately the movement and the performance did not compliment the atmosphere created. In addition, “The Rush,” choreographed by Meghan Bingle and performed by 32 Flavors Dance Company was a large group piece with eleven dancers, that also suffered from the confinement of the smaller stage. There were a lot of spacing issues such as dancers running into each other and the wings. Overall, this piece seemed a little under-rehearsed due to the inconsistencies from dancer to dancer and the poor display of unison for music with a driving beat. For example, while some would be holding a position with a bent knee, others would have the knee straight. While some would be on up on the toes, others would not. One girl even seemed confused as to what the intension of the piece was. While the rest of the company had an intense focus, she smiled and smirked at the audience. It was very clear the music had counts with specific beats the movement was intended for, but the accuracy was not completely there.
Nine pieces, nine different choreographers, nine very different intensions and themes. It certainly was a diverse show making Breaking Ground 2007 an interesting and exciting to experience. I do believe this concert is a great way to begin a series of Breaking Ground concerts. Hopefully CONDER/dance continues to collaborate with other artists to produce choreography showcases.

a response to responses

2007-11-23T22:11:00.000-08:00

i'm sorry my opinions have offended some readers. but in the same respect, i am happy my writing about dance has opened dialogue about recent performances. i want everyone to understand that my opinion is not the only one out there. when i attend performances, i'm not looking for extensions to the head and perfect feet. i'm not looking for the most amazing dance i've ever seen in my life at every show i attend. i'm looking for intelligent composition, even if the work is not intellectual. i'm looking for an appropriate level of technique that matches that of the choreography. i'm looking for a uniqueness and innovation of movement that allows dance to evolve. i'm looking for a passion and dedication to character that is infectious to the audience as well as honest.

A Disappointing Show for an Exceptional School

2007-11-19T15:09:00.000-08:00

This fall semester at ASU began strongly with the presentation of work by MFA candidates Nicole Manus, Christina Harrison, and Emily Wright. Sadly, the Fall Dance Concert, Lyric Reflections, was a rollercoaster of strength. There were moments of choreography and imagery that were stunning. Then seconds later the audience would fidget uncontrollably with boredom.

Strong points of the concert include Michael Dostal’s beautiful lighting design, the technical abilities of Karen Schupp’s dancers, and the collaboration of Glenn Hackbarth, Natalia Jaeger, and Mary Fitzgerald to produce the work of art “The Weight of Light.” Plundging just shy of disaster is Aileen Mapes’s “Cajumbled Mumbo” and the reconstruction of José Limón’s “The Exiles.”

Major kudos to Michael Dostal for lighting all six pieces by making the choreographer’s ultimate vision become a reality. He helped bring the character out of each piece by creating appropriate yet bold designs, forming an atmosphere for the audience to become immersed in. The color choices were vibrant and superb, especially in Schupp’s “Earth Measure.” The use of the bright blues and green in contrast with the white provided a great effect on each section of her piece. In Elina Mooney’s “The Egret in the Living Room,” Dostal brilliantly divided the stage subtly in order to light the musicians, soloist, and trio simultaneously, without confusing the audience’s focus.

As for the pieces presented, some concepts were demonstrated exceptionally, while others confused me as to why they were presented at this point in the process.

Mary Fitzgerald’s “The Weight of Light” was a perfect combination of music, video, and movement. Each aspect worked together, creating an infectious atmosphere that keeps the audience interested from the first flash of light to the last subtle movement. The intensity of the performers lives up to that of the movement as well as the video/music combination.

In the same respect, Schupp utilized challenging movement technically, that demanded control, flexibility, and spatial awareness. Every dancer performed her movement with ease, making all shapes and lines of “Earth Measure” look effortless.

On the opposite end of the rollercoaster, two pieces were not ready to be performed. In addition, the technical capabilities of the dancers in these pieces were not up to par with the choreography. Mapes’s work had unclear movement, structure, and purpose. The performers struggled with the choreography on a technical level. It was also very obvious the dancers lacked confidence in their knowledge of the piece. This was very apparent during unison phrases. There was too much going on in all areas of the stage, making it difficult to decide what to watch. It seemed as though the gestural choreography was suppose to be funny and quirky, but because there was so much going on at once, it was too complicated to follow the humorous plot. All together, the piece needed more time before it was placed in front of an audience.

The historic piece, “The Exiles,” choreographed by José Limón was reconstructed on two ASU dancers by Professor Nina Watt. When reconstructing a piece with historical significance it is important to do it right. Not only is it difficult to keep an audience’s attention with old and outdated choreography, having two dancers perform Limón movement whose technique is not at the level of a Limón dancer is even more disastrous. Limón requires a grace, the ability to form stunning lines with the body, control and perfect placement, as well as the talent of constructing seamless transitions. Both struggled with these aspects of the dance immensely. In addition, the two performers in this piece had no chemistry between each other for such an intimate topic. This piece explores the relationship of Adam and Eve, yet the dancers seemed bored with each other. Much of the audience picked up on the dancer’s boredom and left as soon as the piece ended, leaving less than half the audience to watch the remainder of the show. In order to give justice to this historical Limón piece, there needed to be a great deal more time given to it before it was presented on stage.

On the whole, this concert was slightly disappointing being a mainstage concert at one of the nation’s top modern dance programs, and being an evening of work presented by five faculty members and one graduate student. There were beautiful, interesting, and exciting moments, but having seen so much innovation come forth from the dance department at ASU, this was not one of their strongest presentations.

Contemporary Dance Depicting the World of Vampires

2007-11-07T00:18:00.000-08:00

Opening night, October 31^st, I am invited (as well as anyone else who attended or plans to attend) by Scorpius Dance Theatre to enter the “intimate den” or “sanctuary” of the vampire world. For an hour and fifteen minutes, the audience witnesses the story of a “forlorn girl” (Keri Fraker) drawn into the intriguing and dark lair of vampires, in the dance production, A Vampire Tale. Although the plot is interesting and the topic of vampires exciting, the choreography by artistic director Lisa Starry was rather blah for such a distinctive theme.

The first image of the evening length work is of the “forlorn girl” performing sorrowful gestures to music box sounds, giving the audience an accurate portrayal of her innocent, yet sad, character. Two minutes into the choreography, Starry gives into the music with movement that resembles a music box doll. Suddenly the dancer is doing light and uplifting movement even though the previous gestures proved her to be a “forlorn girl.” This choreographic decision was confusing and disappointing since the gestural movements started off strong.

Luckily “the watcher” (David Starry) enters to add an eerie air to the atmosphere. He embodies his character perfectly, showing his uncertainty about being a vampire through his curiosity and love for the “forlorn girl.” The two similar yet different characters and dynamics on stage provide an interesting contrast. In fact, each duet between these two characters was the most genuine performance and intriguing choreography of the entire work.

After the audience has ample time to witness the coming together of these two unlikely characters, the curtain opens to reveal a well lit and designed world of vampires. Although the scenery creates a visually pleasing vampire’s lair, the “blood klan” (dancers playing the roles of vampires) choreography was unoriginal and not nearly as exciting as the fantastic topic of vampires.

The choreography was cheesy. Starry presented a version of the vampire that was oversexed and tacky. Accompanied by painfully literal movement, the staging of vampires was boring. There are fourteen bodies on stage throughout much of the show. Having that many people moving gives the choreographer many opportunities to create unique shapes, patterns, or designs, none of which happened. Starry made the artistic choice to display the majority of the choreography in unison. Unison can be an extremely powerful method of presentation, but it has to be clear and clean. Unfortunately, it was neither of these. The diversity in technical levels of the dancers was such a wide range that the unison made this very apparent and distracting.

Even the dancers seemed confused as to what their role as a vampire was, with the exception of “queen of the klan”(Nicole Olson). It was not clear if they were supposed to desire the innocent girl, hate her, want to kill her, or all of the above. Even their focus was confusing. Some of the vampires directly connected with the audience through their gaze, while others looked past the audience, at the girl, or with an introverted stare towards the ground.

But not all scenes were a disaster. Like previously stated, the duets between “the watcher” and the “forlorn girl” worked well with the plot and the two performers interacted well with each other. Other scenes that were nicely done are the aerial scene as well as the transitional scenes with the “strange man” (Stjepan Rojko), but both still contain distracting faults. For example, the aerial work was beautifully performed and demonstrated the various talents of the company members. Yet, the scene had no connection to the greater theme of the show and did nothing to advance the plot. Aerial dance can convey some very powerful messages due to its ability to make a body suspend and float, that is otherwise impossible. It is unfortunate Starry was incapable of making the aerial piece a meaningful scene that was connected to the rest of the plot. Likewise, the transitional scenes with the “strange man” are amusing and Rojko is completely immersed and dedicated to his character making him entertaining to watch, but the transitions were much too long. Nothing significant would take place in these theatrical happenings, so the audience fidgeted in anticipation around me.

The most striking moment of the entire show came in the last duet between the “forlorn girl” and “the watcher.” The entire show “the watcher” is contemplating his devotion to the vampire world and subtly proclaiming his interest in the innocent and sad girl. Unexpectedly he gives into his vampire instincts and takes the girls life at the end of their dynamic and physical duet. It is surprising and breathtaking, a nice ending to a predictable show.

Overall, A Vampire Tale was a disappointing portrayal of the vampire world. The movement was entirely literal, making most of the movement gestural, predictable, and uninteresting. There was not much dancing, and no abstraction to the movement that was presented. It is certainly a good and fun idea to have a show about vampires around the Halloween season, but presented any other time of year in any other setting the show would not survive.

New Danceworks 1: the creative endeavors of three MFA candidates at ASU

2007-10-15T00:46:00.000-07:00

This weekend is the opening of the New Danceworks series at Arizona State University for the 2007-2008 season. These dance concerts display the Master of Fine Arts candidates research in choreographic and performance forms. Each candidate chooses to focus on a particular subject for their thesis, which is ultimately translated into a dance performance. New Danceworks 1 presented the work of graduate students Nicole Manus, Emily Wright, and Christina Harrison.

Nicole Manus, both performed a solo and choreographed a duet. Her solo, “The Road Home,” choreographed by Melissa Rolnick, was mostly gestural and presented no climax. Even though the choreography was somewhat unexciting, Manus’s focus and intent behind the movement made the piece interesting. She was capable of completely engaging the audience with her intricate muscle usage and her incredible control. Not once did she wobble when presented with weight shifts or dynamic changes.

Manus’s choreographic creation “The Musical Joke: a table duet,” was an inspired by Mozart’s inversion and retrograde cannon compositions, known as table duets. Throughout the piece the dancers performed fun, quirky movement in which they begin to retrograde at the middle of the piece, following the form of a Mozart table duet composition. The musician’s were live, giving the piece extra authenticity to the topic. Manus also used tables as props for the dancers to dance on, which exemplified the idea of a table duet not only though movement with the dancers or the Der Spiegel composition the musician’s were playing, but visually for the audience also.

Emily Wright performed a solo as well as choreographing a group piece. “Sonata,” choreographed by Karen Schupp for Wright explored the mixture of Baroque music and modern dance. The choreography was elegant and graceful. Each movement flowed seamlessly, the transitions were well crafted. Even though the music and dance styles come from very different era’s, the two complemented each other very well in this choreographic instance. Although the choreography was successful, Wright seemed to shorten her kinesphere. Her lack of conviction with the momentum the piece provided made her look extremely small on a large stage.

Wright’s group piece, “Not Yet,” was a powerful portrayal of how movement of the body is capable of presenting religious messages. She used video as well as live dancers to show how the body successfully conveys meaning. The well edited videos focused on specific parts of the body, a view the audience would not have otherwise be able to grasp. The first section of the piece choreographically, was extremely powerful. The choreography was simple, yet captivating, and the performers exuded an infectious energy. Unfortunately the second section of the piece was not nearly as strong, leaving the audience wanting more from lack of closure or force that the first section did provide.

Christina Harrison, choreographed two pieces influenced by the work of Henri Matisse. The first piece “Ode to the Blue Nudes” was inspired by Matisse’s painting Blue Nudes. The dancers wore simple blue costumes which complimented the interesting design of the white fabric that was hanging as well as on the floor. The piece itself was soft and cool, yet dynamic and athletic at the same time. Harrison demonstrated a unique sense of architecture, creating visually stunning shapes with the body. Her dancers (which includes herself and two others) were completely aware of each other’s energy and space at all times, making each shape and picture Harrison choreographed clear.

“The Defining Line,” literally took my breath away. This time, Harrison was inspired by Matisse’s The Green Line. Her soloist Jean Kelley, phenomenally captured the audience with her piercing presence incredible movement ability. Her, as well as the other four dancers, relationship to the painter was significant and clear. Every single person on that stage knew who their character was, the importance of the movement to the character, and immersed themselves whole heartedly into the piece. Watching “The Defining Line” was having the privilege of witnessing beauty unfold before the eyes.

ASU’s post-graduate dance program is one of the top in the nation, and after watching New Dance Works 1, it is clear as to why the program is ranked so highly. The candidates in this show presented thoughtful work. I am looking forward to witnessing New Danceworks 2 on December 4^th.

Arizona Dance Festival: Representing the Best in Arizona Dance?

2007-09-17T14:55:00.000-07:00

Don’t get me wrong here. I know Arizona is full of intelligent and talented dancers. Unfortunately, this past weekend on September 14^th and 15^th, the audience at the Arizona Dance Festival, presented at Scottsdale Center for the Performing Arts, did not get a healthy dose of Arizona’s incredible dance capabilities. Instead, viewers experienced thirteen different company’s/solo artists that presented a very mediocre representation of what dance is in Arizona, with the exception of a few that delivered a phenomenal dance package.
Each night was a different program, allowing more dance artists to present their work, which is an excellent idea in theory. After watching the work presented, it is clear this show could have been the same program two nights in a row, and then this review would have contained an entirely different vocabulary.
CONDER/dance, founded by Carley Conder in 2003, is an excellent example of intelligent and talented dancers in Arizona. Performing “The Weight of Light,” choreographed by ASU dance professor Mary Fitzgerald in collaboration with Natalia Jaeger for video imagery, these dancers demonstrated their more than adequate ability to portray challenging movement and topics flawlessly. This highly physical piece never lost the energy it deserved. All eight dancers (including Conder herself) infected the audience with a strong presence and conviction for the piece.
Other strong work between the two nights included Karen Schupp’s intense solo “Response,” Eva Fleming’s highly entertaining “Rags Ava,” The Visionary Dance Company’s beautiful “Transending Reality,” and the seamless partnering in Cultivating Flight’s “Mars 4.2.” Each of these pieces provided a consistently solid performance presence, as well as interesting or entertaining choreography that captivated the viewers.
While there were five impressive pieces presented in the festival, the other work lacked the caliber of professionalism shown in aforementioned five pieces. Desert Dance Theatre, a company founded in the valley in 1979, performed two pieces, both a disappointment, but for two very different reasons. The dancers in “Last Supper at Sad Café” demonstrated the ability to successfully embody the character of psycho-killer waitresses, but unfortunately the choreography was bland for a comedic piece. On the other hand “The Butterfly Effect” was a highly intricate and physical piece that demanded an immense amount of energy. Regrettably, the dancers were incapable of producing the adequate amount of energy the movement and music called for.
Movement Source Dance Company, SHOK, A-WOL Dance Collective, and Dulce Dance Company all gave mediocre performances as well. Movement Source was over-powered by the live musical talent of Kristopher Hill, who impressively plays multiple instruments at once. Due to his exciting musical performance and the company’s lack of energy or interesting choreography, it was difficult to watch the dancers as opposed to the musician. SHOK, a hip hop group, had trouble maintaining their unison, a couple dancers did not know the choreography, and the dance ended very abruptly. The aerial work in A-WOL Dance Collective’s piece was impressive, but there was no connection between the dancers, music, and choreography. Dulce Dance Company showed Lilian Gomez and George Johnson are very dedicated performers, but the dance itself was over the top and cheesy for a dramatic topic.
Overall, the Arizona Dance Festival revealed there is potential to put together a remarkable program, but this collection of dances for the 2007 show just missed the mark of displaying amazing rather than mundane dance in Arizona.