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
Wednesday, November 12, 2008
Monday, May 26, 2008
Short and Sweet: Scorpius Dance Theatre Presents David and Lisa
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
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
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
Wednesday, February 20, 2008
Emerging Artists II, Presenting Artists That Will Impact the Modern Dance World
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 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.
Thursday, February 14, 2008
The 3rd Annual Phoenix Experimental Arts Festival A.K.A. X-Fest
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.
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.
Tuesday, January 8, 2008
Moving Words is Going Public
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.
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.
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