home

Amahl and the Mixed Response
Sandra Organ Dance Company's Amahl and the Night Visitors

December 16, 2005, Zilkha Hall, Hobby Center

by Neil Ellis Orts

I approached the Sandra Organ Dance Company's Amahl and the Night Visitors with few preconceptions or expectations. I knew the general gist of Gian Carlo Menotti's made-for-TV opera but little more. This would also be my first exposure to the work of Sandra Organ. I knew her reputation as a creator of original dances, but on this occasion, SODC performed the choreography of James Sewell. The evening left me with a series of mixed impressions.

The rising curtain revealed an impressive set, on loan from the James Sewell Ballet of Minneapolis. The oversized trees behind the humble home of the title character lent mystery to the events about to unfold. Amahl's crutch, designed by Thomas Boyd, was a fascinating piece of twisted tree, a work of art in itself. The costumes, especially those for the three kings, flowed and billowed beautifully with the movement.
The initial scene, with Amahl watching the night sky and his mother calling him to bed, introduced us to a pair of likeable characters and revealed a warm relationship between them. Lauren Perrone is to be commended for maintaining, for most of the evening. the illusion of playing a young boy despite being a grown woman. She projected an appropriate sense of wonder, innocence, and excitement about every new thing Amahl encounters.

But then, not far into the performance, the mixed feelings began.

Throughout the performance, I felt as though I was watching a company of accomplished dancers who were capable of more. The choreography, executed with commitment, grace, and strength, held few moments of balletic virtuosity or inventive phrasing. The dancing told the story well enough, but it was not exciting in and of itself.
The dancers performed to the cast recording of the original 1951 television broadcast. When amplified through Zilkha Hall's sound system all the imperfections of 50 year old recording technology were likewise amplified. I want to be forgiving of using the historical recording, but the low quality distracted me throughout the performance.
Because I left with such mixed feelings about this production, I surfed the web for more information about Amahl and its history. After reading a few reviews of the recording, I came to suspect something about SODC's presentation of the opera: I may not be the target audience. There appears to be a significant number of people who grew up with the original television production and they hold it very near and dear to their hearts. The original cast recording in particular receives fierce defense from this audience; all the subsequent recordings are derided as lacking something for which modern recording techniques can't compensate.
So audience members who knew the story and music may have left a great deal more excited than I did. For my part, however, I left slightly puzzled, recognizing some gifted performers and wondering why they didn't shine brighter.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

Cullen Theater at Wortham Center, November 19, 2005

by Nancy Wozny

During these less-than-ideal times for dance performance, pooling is an admirable idea. That's the concept behind Quirky Works (QW): three companies sharing the cost and production efforts of a beautiful theater with the purpose of building audiences and presenting the work of several choreographers. QW is the brainchild of Michelle Smith, Artistic Director of The Houston Metropolitan Dance Company. Kudos to Smith for her positive attitude and continued resourcefulness during these lean days.

This particular QW made for a consistent and friendly mix. The Houston Met aimed for a more modern dance feel (less jazzy than usual), while Tapestry Dance Company of Austin brought the funk, and the Michele Brangwen Dance Company added the rare delight of live music. All in all, the work complemented each other nicely and represented one of the best QW programs yet. Nothing racy or particularly quirky here, yet there's something to be said for a solid evening of entertaining dance. I only wished more Houstonians would come to check it out.

Priscilla Nathan-Murphy's Cadence played up the drama, with her rigorous dance set to Andy Pape's percussive score. The feisty crew at Houston Met kept up with every last beat of this relentless and driving dance. Lightening quick footwork and slicing gestures lent a feeling of women with a mission. The company looked at home in Nathan Murphy's tightly wound style. An eastern looking set, sparely sparcelydesigned by Nathan-Murphy, resembled a gate or fence, and managed to highlight the works' bold lines. Nathan Murphy's ensemble work condensed space, making the tension rise even higher. Chic purple pant/skirt combos (designed by Nathan Murphy and Michelle Smith) added an exotic feel and the martial arts quality of the choreography added to the Eastern feel.. The flurry of non-stop activity conjured women guarding a fortress. Judging from their furious attack, no one gets by these dancers.

Charlotte Griffin's Tequila Shots for a Fool proved a perfect vehicle for Marlana Walsh's comic skills. Short and sweet, Griffin mines Walsh's finesse in the theatrical genre and it works. I'd give her the "quirky" award for the night. Doug Bentz's Faun, part-spoof part-tribute to Afternoon of a Faun, ended with a wonderful Cirque du Soleil moment. All in all, The Met danced with luck and punch, and showed off their technical chops in their choreographic selections.

Tapestry Dance Company, a cool Austin tap company with an urban "stompy" vibe, arrived just in time. Houstonians have been rhythm starved since the only tap company disbanded. This spunky troupe looked and sounded at ease with their five offerings. Dancers Matt Shields, Jason Janas, and Tasha Lawson, each with their special brand of charisma, delighted in Acia Gray's In the Pocket. Nicholas Young and Gray's Rhythm of Life, which was more interesting to listen to than watch, layered foot and body rhythms in a dense thunder.

Essence of Tango ruled the stage with Michele Brangwen's Desesperados. As usual the music and the musicians dominated this romantic exploration of the moods and whimsy of tango culture. The Musicians, elevated on platforms, became the centerpiece while the actual choreography took a backseatan. Thomas Helton's composition and physical presence created a sultry mood. Brangwen managed to create a theatrical experience as the audience witnessed an exchange between dancers, and musicians. It's a gestalt concept where choreography is just one of many elements happening on stage. Yet, Lindsey McGill was captivating as a tango temptress.

The program order, which could not have been easy to figure out, flowed beautifully, making the works feel neatly nested in one another. Sometimes survival tactics, like this triple bill, offer more than we expect.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

DiverseWorks, November 21, 2005

by Nancy Galeota-Wozny

DiverseWorks launched Monday Night Footfall two years ago as a way to give artists a mid-point between 12 minutes max and a full evening residency. It's often too big a jump for artists used to creating individual pieces to sustain an entire evening. Here they can tackle a longer work and try out new ideas in a more ambitious format. It's a good and necessary idea.

Roxanne Claire, an independent choreographer, is experimenting with a full-length work called Paris/GE. GE stands for Geneva. The piece traces Claire's traveling between the two cities over a period of 18 months. She showed one section, Salt, at the Big Range Dance Festival last summer. Salt, a gorgeous dance with or without what comes before or after, left me with more questions than answers. From what Claire showed on Monday night, some of the mystery behind the curious woman on the kelly green bench was revealed.

Claire begins with a film depicting rainy Paris scenes. Somewhere in these antiquated photos a park bench appears and we get a premonition of what is to come. Short vignettes point towards a tender narrative involving a strapping raincoated man (Terrence Karn), and a forlorn woman (Claire). Comings and goings of Claire and her lover, charmingly portrayed by Karn, set the nostalgic scene. Claire's spare and quietly paced monologue placed the tale smack in zone of a love story that doesn't turn out so well for the woman on the bench. A brief duet between Claire and Karn appeared as a memory of happy times. Again, as in Salt, Claire showed off her flamboyance with highly detailed footwork.

When the haunting solo Salt rolls around this time we know more about this woman. There's a hint that her waiting, signified by the tiny shuffles of her toes, is a fruitless routine. Her arm gestures, which seem harder and grander than in the earlier version, relayed a precise sign language of despair while the delicate scurry of her foot ballet holds hope for the raincoated man to return. Morton Potash's vivid piano score colored the dance in a melancholic glow.

So far Paris/GE reads like a literary serial dance that skips through time with a kind of Virginia Wolf flair. The sections appeared like scenes from a novel, and possibly could be shuffled to reveal different aspects of the story at different times. The tone evokes the loneliness of traveling, of living far from home, and the pang of disappointment.

Claire appears to be grappling with what we need to know and when we need to know it. The pieces of Claire's puzzle seem still in flux. I imagine many permutations of this material are possible and that Claire is in the beginning stages of finding how her compelling drama fits together. Currently the piece is still in a volatile stage as it should be for a Monday Night Footfall. That's precisely the point of the program. Curious dance watchers will have to wait for the final version of Claire's solemn saga.

The evening also featured The Rise, a Karaoke Narrative, by Vinod Hopson.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

Cullen Theater at Wortham Center, November 5 & 6th, 2005

by Nancy Galeota-Wozny

Play with your food, because chances are it's already playing with you. That's the message from The Cooking Show, Jane Weiner's new version of her 2003 extravaganza on all things eatable. Performed by her perky company, Hope Stone, The Cooking Show did what it set out to do-poke fun at the way the stuff rules our lives. In full blown dance-o-rama style, this is one circus of a dance, jammed with kooky vignettes, munching and crunching while people are actually dancing, and even a touch of opera. As sorbet and mints were served in between sections, even waiting around for the next part to happen was fun. The servers, all handsome and highly theatrical, should be congratulated for finding this critic.

Weiner and Rob Davidson performed Swedish Meatballs, a charming duet, rich with Weiner's particular brand of off-kilter partnering, kinky transitions, and tongue and cheek humor. Weiner and Davidson emerged and disappeared from a fridge as if was the front door. Is she saying we live in our fridges? With music by Caterina Valente, a Doris Day sound-a-like, the dance conjured the silly ads from 1950s Better Homes and Gardens honoring women as the goddesses of the kitchen. Davidson provided a perfect foil to Weiner's dead pan wit.

Alicia Moore Chew's vocals started off the evening with a good dose of hilarity as she chanted in homage to the great ladies of the kitchen. The ensemble section, danced with punch and spunk by Hope Stone's dancers (Susan Blair, Bonnie Boykin, Janie Carothers, Amy Ell, Siri Ell, Christian Holmes, Jim Lawrence, Lindsey McGill, Joe Modlin, Erica Sandberg, and Penny Tschirhart), showed off Weiner's gift with sweeping crowd patterns. Enlarged pedestrian walks interspersed with tiny quirky hands gestures made for a high level of interest throughout. Newcomer Sandberg fit in perfectly with this well-gelled group.

A trio of unruly meat-pounding vixens created a tour de farce. Blair looked like an innocent Vanna White type, all smiles and legs. Tschirhart played the uptight straight man, until all hell broke loose and she took out her supersized mallet. Ell nailed the detached loose canon who removed her sirloin directly from her elegant black evening bag. After a furious rhythmic pounding session, Ell whipped herself up into an orgasmic tizzy that sent the audience over the edge. It's just this kind of physical comedy that benefits from Weiner's long standing relationship with her dancers. Ell, Blair, and Tschirhart-all senior members of the company- have their way with this material and bounced off each other with the precision of an improv troupe.

A Weiner dance is rarely complete without a visit from the little ones. A juicy section with pint-sized dancers charmed the audience as a super woman cranked out lunches in the morning grind. How ever does Weiner get children so little to remember so much?

A few misfires disturbed this otherwise wildly entertaining dance. A second duet between Davidson and Weiner fell flat against Chef Charles Clark's cooking demo on film. It's just hard to compete with a gigantic chef yielding a sharp knife. One hysterical moment with the dancers looking like sausages on Clark's grill made for a spot-on union of film and dance. A serious section, hinted at eating disorders, performed to the music of Send in the Clowns, seemed oddly placed and unsupported by the rest of the piece.

The piece ended with a raucous food flinging romp where the dancers are literally immersed in smoke clouds of billowing flour. Chew chanted another set of food hymns, while the whole cast entered to enjoy a meal. The lights dimmed on this tender scene which served as a poignant closing and reminder that it is food binds us as a people, brings family and friends together, giving us the needed sustenance to continue our lives.

With that said, I headed off to Birraporetti's for a delicious meal.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

Phantasia 2005

Oct 28 & 29, 2005, Zilkha Hall, Hobby Center for the Performing Arts

by Nancy Galeota-Wozny

Ever wonder how modern dancers spend the Halloween season? Move over little trick or treaters, there's finally a way for dance lovers to get in on the fun. Phantasia 2005, Psophonia Dance Company's annual celebration of the macabre season aims for a more authentic take on this overly commercialized holiday. Halloween harks back to the European supernatural myths and that's exactly where Artistic Directors Sophia Torres and Sonia Noriega began to create their non-stop stomp through fantastical terrain. A nod to Alvin Nicolai, the giant of modern dance illusion, was also in evidence.

Phantasia revealed plenty of dressing up alright, and no shortage of visual tricks. It's refreshing to know that Halloween doesn't have to be about the scary, ghoulish things. The feeling was light, fun, and over-the-top weird. Phantasia captures the just plain bizarre essence of Halloween, the one day of the year we get to be someone else, or something else. The creatures/dancers crawl and creep, act like trees, hide with flashlights in tents, emerge from bellowing fabric, blend into the scenery-all of which contribute to an adventure to a strange world. Toni Valle, playing a cross between a golum and a medicine woman, orchestrates the evening, conjuring one otherworldly creature after another. Valle's half-bird, half-spider proved the most successful departure from the world of humans. Her strange head quivers set an eerie tone. The branch-headed dancers look fabulous in their enchanted tree section. Head movements conjured the allure of the sometimes humanoid feel of trees, although the all-black tree sweats and skirts seemed a bit too pedestrian.

The candy was plentiful-eye candy, that is. Catalina Guitterrez and Erica Lewis mesmerized in their giant brown and white hoop-skirted duet. Some of the strongest choreography occurred during this tender section of mysterious women who seemed to take the ground with them as they danced. Looking like soul twins rooted to the earth and each other, they intertwined and grew apart in a sensuous yin/yang dance.

The slickest illusion of the evening involved four dancers dressed head-to-toe to match a squiggly line backdrop suggestive of pre-Columbian art. To top it off, the lines on both the costumes and the backdrop were both made in glow-in-the-dark florescent paint. A "Cirque du Soleil" moment occurred when the dancers delicately emerged from their environment. To the naked eye, the dancers magically appeared out of the backdrop. Talk about things coming to life; it was definitely one of those "my eyes are playing tricks on me" dances. Unfortunately, the choreography in this section was unremarkable and eye fatigue set in.

Musical selections ranged from the haunting vocals of Lisa Gerard to the new age thunder of Peter Gabriel. Mark Rhoads' lighting design delighted throughout, adeptly keeping the audience on its toes. A few glitches in production values interfered with the overall effect -at times music and lights ended too abruptly which brought the audience back to reality with a hard fall. The costuming was not consistent from piece to piece and some of the sets appeared clunky.

Toni Valli stood out as the uncanny groveling mistress of all things strange. The rest of Psophonia's dancers, a young and spirited bunch, should be commended for pulling off a very amusing experience. Phantasia 2005 fulfilled its mission to entertain and widen our imaginations to hold a truer idea of Halloween.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

October 9, 2005, Bayou City Arts Festival
By Jess Ray

It is a beautiful day in downtown Houston. Thousands mill about in the sun. Among the hundreds of open booths lurks a curiosity for the Bayou City Arts Festival - a tent enclosed by gilded and ivory panels, crowned with a deep green roof adorned with golden tinsel. Some attempt to peer in; little do they know that it too contains works of art, only that of a different form. It is here that Several Dancers Core, led by artistic director and founder Sue Schroeder, prepared for their interpretation of another time in Houston in Bayou Rag. As it nears showtime, the largely unsuspecting audience ignores the anticipation of performance, that is until melodies of America's late nineteenth century float across the reflection pool that inhabits the front lawn of the Houston Public Library. One by one, seven dancers exit the tent, transporting us into the past in their well-thought out Victorian garb. We meet the ringleader, a flapper, a scholarly gentleman, two proper ladies, a street urchin, and a keystone cop. Their entrance mimicks that of a minstrel show, as the ensuing cakewalk peppered with comedic skits weaves the troupe through the artists' booths. Tall and lithe, clothed in a spring green suit and straw skimmer hat, the ringleader leads the bevy, laboriously dragging a red wagon housing their accompaniment. Each character exhibits a stylized walk - the flapper, a wild Charleston; the ladies, a suffocated tail shimmy; the police officer, a long swagger; and the scholar, a straight-legged waddle. Several Dancers Core captivated the audience with their antics, interacting both with one another and the observers.

Once they had captured the attention of the audience, the performers returned to the reflection pool where they shed their shoes to caress the blades of grass with their movement. They then traded their Victorian personas for those of ethereal beings: the men's costumes morphed into dark tunics, and the women reappeared in sunny orange chiffon, their heads wreathed in gold. After encircling the pool, the men lowered a grey raft of the Coleman variety into the cool blue water; one at a time the women melted onto the raft. The audience appeared intrigued, if not a bit jealous of the dancers' frolic. Unfortunately, the announcement of Lance Berkman's grand slam in the bottom of the eighth inning to give the Astros a 6-5 lead over the Braves diverted the audience's attention from the performance.

Besides one common movement phrase repeated in both the opening piece and the more fantastic closing, it was difficult to comprehend a relationship between the two, if that was the intent of the choreographer. Both pieces challenged the dancers' improvisational mettle, as is indicative of the nature of site-specific work. In this work, Several Dancers Core illustrated the reasons for their longevity (this year, the company celebrates its twenty-fifth anniversary); they successfully engaged the audience initially with their comedic talent grounded in the historicity of nineteenth century movement and maintained it in their creation of a fantasy world reminiscent of Isadora Duncan.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

Modern and Contemporary Dance Through the Eyes of Bondage and Change.

October 22, 2005 Jewish Community Center

By Julie Garza

Julie Garza is a current student at University of Houston.

Bondage. Relationships. Obstacles. These are just some of the events that will take place in Two For the Price of One, opening at the Kaplan Theater, Jewish Community Center on Saturday, October 22, at 8:00 pm. The name Two For the Price of One fits beautifully since the show consists of two different companies: Sparacino Company Dancers, under the direction of Leanna Sparacino, and Exclamation Dance Company under director Kenneth Epting. Both companies have worked extremely hard to put on a brilliant performance for people of all ages. A note: Two For the Price of One is G-rated - intended for families, students and adults.

Sparacino Company Dancers presents two main pieces: "Bondage" and "Changes." "Bondage" focuses on two themes, the ties in different relationships and the ties in sharing the same space. Sparacino believes people will want to see this show because of an interesting take in "Bondage" - the dancers are actually chained together. That's right, the performers will literally be bonded together. This unique demonstration will allow the audience to understand and feel what is being expressed. "Changes" takes a different approach into the obstacles that women face in everyday life.

Sparacino Company Dancers has many different styles of dancing to choose from, whether it be modern, jazz, hip-hop, or contemporary ballet, they have it all. Director Sparacino believes that since both companies are so diverse it allows for all people of different interests to watch and enjoy. This extraordinary concert originated from the thoughts and ideas of both directors and dancers, and how they link to modern day society. There are several more pieces that take place in Two For the Price of One, including a blues routine, a salsa routine, and a grand finale, comprised of both companies.

So, where do the directors hope to go from here? Both directors hope to increase their funding and expand their programming. Sparacino wants to increase the number of dancers from four women performers and four men performers to double its current size. Two For the Price of One opens October 22, 2005 at 8pm. The concert will take place at the Kaplan Theater, Jewish Community Center, 5601 S. Braeswood. Ticket prices are $15 pre-sale, and $18 at the door, and group rates are available upon request. For more information, please call (713) 520-9070 or (713) 856-8084.

September 8 & 9, 2005 Miller Outdoor Theater
By Nancy Galeota-Wozny

When we think about the Houston dance scene how many of us include the world dance community? According to Dance Source Houston President, Christina Giannelli, it's about time we did. Tapestry of Dance, presented on September 8 & 9,th 2005 at Miller
Outdoor Theatre gave Houston dance audiences a taste of their immensely diverse city.

Curators Deborah Quanaim, Maxine Silberstein, and Cynthia Cupach selected a varied program traipsing the world from West Africa to Brazil. Quanaim and Cupach are co-directors of the World Dance Institute based at Houston Community College. Silberstein, active in the Israeli Folk Dance community, has sponsored international troupes at the JCC over the course of two decades. Their collective expertise was in full evidence as each group delivered a polished performance. I was struck by both the incredible uniqueness of each group and some surprising similarities.

Nothing commands our attention like drumming. The evening began with Mario McIntee's crisp drumming and a procession of all the dancers in full costume down the center aisle of Miller Outdoor Theatre. It gave us all a chance to see the brightly colored costumes up close and get a feel for what was to come. Seamlessly, the procession ended with members of the WonLande West African Dance and Drum Company on stage and already in motion.

Performing Yankadi/Makru from the Susa people of coastal Guinea, and Tiriba, a celebration dance traditionally performed at weddings and naming ceremonies, the dancers drummed rhythms in their feet while their arms flowed like airborne ribbons. The dancers, Carmella Blackwell, Christina Gerard, Mickie Koster, LuVonda Petitt, Sheri Nash, and Tamara Stewart, radiated joy throughout.

Are there Russians in Houston? You bet. The oil industry has brought with it a substantial Russian population. The Uzori Russian Folk Dance Ensemble paired with the Houston Balalaika Society to present three dances and one captivating musical interlude. Alla Shariy's Basso, a Russian Gypsy dance, was a good reminder that flamenco style is more widespread than we know. Shariy's charismatic presence stood out and provided a natural segue into the next group.

Lucia Rodriguez and her husband, Valdemar Phoenix are considered the reigning leaders of Flamenco in Houston. The three dances, Flamenco, Sevillana,s and Bulerias, were examples of the evolving Flamenco form. Flamenco music is in flux as well. Garett King's flute added interest. Lead dancers, Sianey Montes de Oca and Maria Fernandez, each with their own style, demonstrated mastery of the form, elegant showmanship, and strong audience rapport.

Joyce Hu of J & L New Art Company, enlisted ballet technique combined with classical Chinese dance forms in Butterfly Lover. Using a giant multi-colored cloth she transformed from a butterfly to a tulip in a mesmerizing spinning segment. Little Lovely Hau Dan, despite a technical glich, was a charming dance that kept with the "insect" theme. A long, single feather attached to the top of the each of the dancers' heads, amplified every move making for a witty and entertaining experience.

Rathna Kumar, Artistic Director of Anjali Dance Company, may very well be the most experienced player on the world dance scene. Anjali has just celebrated its 30th anniversary. Kumar has always been dually interested in presenting traditional Indian dances and expanding the form. Laya, choreographed by Kumar, fused classical Indian dance elements with a contemporary feel. Atashi Patel choreographed, Dholi Tharo, a colorful folk dance from North Africa. Anjali's selections demonstrated a range of classical, contemporary and folk Indian dance forms.

Capoeira may have the most in common with modern dance. Resembling a cross between contact improvisations (but hold on the actual contact) and a martial art this Brazilian dance form originated from African slaves on the streets of Brazil. Mauricio Campos and his enthusiastic members of Grupo Capoeira Brasil, delighted with Macuele, a traditional dance form from the sugarcane fields, and Capoeira, a wonderful display of athleticism. Capoeira plays out a bit like a game as improvisation is part of the plan. Two members come forward in a squatting position. A touch of hands signals the beginning of the game. They spin, cartwheel, and whirl on the ground and in the air in a conversation with each other. There's almost a break dance feel to some of these movements. (I believe this is actually where break dance gets their circular formation from. It's the other way around - break dance stole it.)

We tend to think of traditional dance as frozen in time. "Tapestry of Dance" proved world dance forms are vibrant, ever-evolving forms. Although they may begin in tradition, choreographers are blending in contemporary elements that both honor their homelands and show that dance is all about change. Dance Source Houston billed this event as the First Annual Tapestry of Dance. Houston audiences can look forward to future world dance events and learning more about all the cultures that call Houston home. I only wished more Houstonians were in attendance.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

September 3, 2005 Miller Outdoor Theater
By J. Ray

Great Scott! FLY has swept into Houston following an international tour, taking its hometown Back to the Future in a Saturday night concert at the Miller Outdoor Theatre.
As fog filled the stage the FLY dancers rose through the haze. It dissipated to reveal Michael J. Fox's mode de transport of the 1980s surrounded by the members of Pasadena ISD's Morris Dance Team. With generation-appropriate music by the Doobie Brothers and Blood, Sweat and Tears, "Back, Back, Back" introduced the audience to the members of FLY and their brand of hip hop - clean, but not watered-down versions of movement accompanied by anything but that on the current Billboard charts, thereby almost single-handedly redefining the parameters of hip hop culture. Though some of the more intricate moves did not translate well in the trajectory of the Miller theatre, FLY succeeded in priming the audience for an evening of motivating performance.

As "Back, Back, Back" closed with the members of FLY climbing into the pristine DeLorean to begin their next journey, Pasadena ISD's Morris Dance Team took the floor. For a moment, I thought FLY's special guests just might steal the show. The group, directed by Rhonda Valencia, electrified the audience with energy and attitude. Of the twenty-five onstage, I could not find one that was not giving everything to the audience. "I Believe" this generous performance is only the beginning for these up and coming dancers.

The scene then shifted to welcome the future, FLY's "TRIAD: Yellow, Blue, Red", accompanied by the impeccable rhythms of Garcia y Renya. Lighting design by Kris Phelps complemented FLY's primary color scheme. Opening the piece, "Yellow" shed light on the talent of the FLY dancers. Though the tricks were undoubtedly impressive, I was left wondering if they could not challenge themselves more choreographically and conceptually. FLY would prove most successful when incorporating props with their tricks, which created new dynamics among the dancers. Often, the pieces slipped into a predictable, albeit clearly comfortable, choreographic rhythm using movement hooks within each piece interspersed with individual showcasing. In some instances, new choreographic concepts would open a piece, but not be carried out. For example, the middle section of "Yellow", "Snap (Percussion)" introduced a theme of contrast between the smooth movements of the dancers and the staccato percussion of the music. It then dissolved into the familiar structure, although one move by Rock Williams, in which he moved from one side of the stage to the other by transferring his weight from one inverted knee to the other, proved particularly impressive.

As "TRIAD" moved from "Yellow" to "Blue", I began looking for distinctions between the two. Although the energy continued to be high, I found myself disappointed that the opportunity was not taken to distinguish choreographically and musically among the three pieces of the triad. Because of the demarcation of the title, I expected, although maybe incorrectly, visual differences extending beyond lighting and costume.

"Blue", my favorite section of the piece, began with the dancers running patterns in and out of the curtains from stage right. The opening "Cu Cui" had a Scooby Doo Mystery feeling with the gang running from the two-headed alien. The definitive moment came near the end in a slow motion escape, although the effect was muddled by the dancers' return to the stage.
"Blue Sambo", the second phase of "Blue", proved one of the biggest crowd pleasers of the night. A spot illuminated a mannequin attired appropriately in blue, leading into a superbly acted competition for her plastic affection between Javier Garcia and Rock Williams. They manipulated their inanimate love aptly, using the depth of the space in their tangos and comic caressing. The first act closed with La Luna, which cleverly incorporated the use of a freestanding ballet barre with FLY's off the hook tricks. Use of the barre created a new twist on competition of the traditional break dancing circle and provided a strong ending to the first half.

"Red", the final piece of the triad, comprised the entirety of the second act. Its opening, "Malaguerna", allowed the musicians to shine yet again, with the fast and furious rhythms of guitarists Jeremy Garcia and Rosendo Reyna accompanied by the innard thumping bass guitar of Richard Saldivar. I wanted more of the "Latin Rhythms" in which the dancers joined the musicians as a rhythm section while taking turns using a (red) chair to agitate their tricks.
The audience took to their feet during the encore, confirming the success and broad appeal of FLY's funky moves and positive energy. Through their juxtaposition of hip hop and break dance with the self described "Rumba Flamenca" rhythms of Garcia y Reyna, FLY proves that hip hop is not only a form of music or movement, but a state of mind. I look forward to FLY's continued growth and success as they spread their wings and soar to greater artistic and outreach achievements.

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

An Offering of Timeless Beauty and Wisdom - Anjali Performs for Dance Source Houston’s Tapestry of World Dance

September 8 & 9, 2005 Miller Outdoor Theater
By Michele Brangwen

It is one relatively short and easy to pronounce word –anjali – whose modest three syllables belie a meaning so complex it could sum up just what is going to be so intriguing about the work of not only the Indian dance company that uses it as its name, but all the dance companies performing o­n Dance Source Houston’s Tapestry of World Dance on Thursday and Friday September 8th and 9th at 8:00 p.m. at Miller Outdoor Theatre.

Anjali means an offering; it is both a word and a dance gesture,

and it was aptly chosen by Anjali Founder and Artistic Director Rathna Kumar to represent not o­nly the profound significance of dance as an art form, but also as an invitation to all to draw their own meaning from, to fuse with, and to enjoy the company’s work and the culture it embodies.

The Tapestry of Dance Concerts include works by Anjali Center for Indian Performing Arts; the Houston Balalaika Society with the Uzory Russian Folk Dance Ensemble, J & L New Art Company; Lucia Y Valdemar – Gitanerias Flamenco; Mauricio Campos of the Brazilian Arts Foundation; and Wonlande West African Dance and Drum Company.

Just as styles of dance such as ballet, modern and jazz have hungrily appropriated much from their world dance predecessors, so have our current masters of world dance responded in kind to their new surroundings and colleagues. There is fusion going o­n, and fortunately for us dance fans, there will be no stopping it. And that was precisely Rathna Kumar’s point when she chose the name Anjali thirty years ago upon her arrival in Houston from Chennai (then called Madras), India. In making the gift to her new home of her ancient culture and tradition through dance, she was inviting us to engage in a dialogue that continues to this day.

Anjali Center for the Performing Arts, which specializes in both classical and contemporary Indian dance, will present two works o­n the program. The first, a tribute to Shiva, is set to traditional Southern Indian music with choreography by Dr. Vempati Chinna Satyam. Shiva is the Hindu God who danced and drummed the creation of the world out of ciaos, and as any fitting tribute to the divine dancer of the cosmos, the choreography is energetic – punctuated by athletic leaps and turns.

The second work features choreography by Rathna Kumar, and is set to music by contemporary Indian composer-violinists Ganesh and Kumaresh. Rather than illuminating a traditional story or tributing a deity, the subject matter is abstract and the focus of the dance becomes the rhythmic, yet engagingly fluid, movements of the dancers. Stunningly clad in traditional dress, Anjali’s dancers exhibit a quality of total integration -- from their facial expressions to their intricate hand gestures to their broad sweeping movements, all executed with a musicality that is a delight to behold.

The exchange of ideas and concepts between practitioners of world music and their classical and jazz counter parts has long been acknowledged and celebrated, with a long history of collaboration and inclusion o­n the mainstream musical scene.

As a new organization (new as in they are now independent from the Houston Dance Coalition), Dance Source Houston immediately illustrates its distinct mission of cultivating and promoting dance in Houston by adding programs of world dance to its annual September offering of contemporary dance, the Weekend of Texas Contemporary Dance. Producing Director Christina Giannelli worked with Deborah Quanaim and the World Dance Institute at Houston Community College, and Maxine Silberstein, Dance Director at the Jewish Community Center, to create this program of some of this city’s most exciting companies.

It is important to note that the Tapestry of Dance Concerts are on a Thursday and Friday, September 8th and 9th, and the Weekend of Texas Contemporary Dance is on Friday and Saturday September 23rd and 24th.

Admission to Tapestry of World Dance is free. All seating is available to the public o­n a first-come, first-served basis. Free tickets for the evening performances will be available at Miller Outdoor Theatre Box Office o­n the day of the show from 11:30 a.m. to 1 p.m., and again at 7 p.m. Listening devices for the hearing impaired are available at the Miller Theatre Box Office o­ne hour prior to curtain. As always, no tickets are required for the hillside.

Miller Outdoor Theatre is located at 100 Concert Drive in Hermann Park in the heart of Houston. For Miller Outdoor Theatre General Information please call (713) 284-8350 or visit www.milleroutdoortheatre.org.

commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

July 14 and 15, 2005 Barnevelder Movement Arts Complex
By Linda Phenix

The Michele Brangwen Dance Ensemble presented a concert on July 14 and 15 at Barnevelder Movement Arts Center, Houston's fun and relatively new hot spot for performance events.

First on the bill was "Voices in My Head." This piece, a blending of sounds and images from the Belizean Rain Forest, is a collaboration between composer Arthur Gottschalk and free-lance filmmaker Yunuen Perez Verti. "Voices in My Head" is an elegant pairing of music with visual art.

Arthur Gottschalk's score integrates bird songs, the twittering of insects, and other sounds unique to the rain forest with pleasing melodies and rhythms suggesting the steady beat of life cycles. Of special interest is the variety of pitches from the natural world, which Gottschalk blends with his music to create an imaginative composition. The music is textured, and colorful. It is a fine weaving that speaks to the mysteries and complexities of ecosystems. Percussionist Alec Warren was on hand to play singing bowls and other instruments, adding a rich layer to Gottschalk's recorded piece.

The accompanying video by Yunuen Perez Verti connects images of humans with animal and plant life in a visual treat that begins as if the viewer is looking through a telescope to focus on one image at a time. In fact, Verti uses a number of techniques that are fascinating such as one similar to wiping soot off a window to reveal a scene from the natural world. As the video unfolds, transformation techniques emerge. A photo of a human foot transforms into the image of a forest, and the forest dissolves into an image of a frog, and so on and so on. Several times a torso of a man is superimposed with images of trees and other patterns. Images blend into other images, and as the piece builds, there is a disturbing aspect as pictures are flashing and changes are happening to quickly for the eye to fully comprehend.

As the video and music draw to a close, the images and sounds take on an ominous and distorted quality, and Alec Warren crosses the stage leaving behind the singing bowl and other instruments associated with sounds more peaceful in nature. He takes his seat at a set of drums and plays them with full force as if to issue a warning.

Just as the video begins with an isolated image, it ends this way too with a photograph of a turtle. I was reminded of the myopic versus long range planning tug-of-war that humans engage in with regards to the environment. I was left with a feeling of unease and an appreciation for artists who use their talents to draw attention to the magnificence of nature.

"Desesperados," with choreography by Michele Brangwen, drew its life from the choreographer's interest in tango music and dance. Tango conjures up sensuous images, most notably a romantic dance for or rather between a man and woman. I was curious to see what kind of piece Brangwen would dream up for the three women in her ensemble.

Tango music and dance have often been associated with the glamour and elegance of high society, but the emergence of these art forms is really grounded in the story of the immigrants from Europe, Africa, and other locales who streamed into Buenos Aires beginning in the 1880's to escape desperate poverty. The loneliness of men in an unfamiliar culture comes through in melancholy songs. But, tango songs can also be bold and frisky, capturing the passion and frustration of romantic love. Whatever its evolution, the tango has always been dramatic.

In Brangwen's "Desesperados," themes of mystery and waiting are in full force. Dancers toss their hair, take sips of drinks, pass a set of keys around, and make much to do about the placement of high heel shoes on the stage. At one point, they stand in front of an electric fan, shifting their weight from one foot to the other as their hair and dresses respond to the breeze. The choreography contains silky movements for the arms, and a stylized modern dance walk is the dominant traveling motif.

The appeal of "Desesperados" is the understated way that things happen. The performers do not emote. Instead the intensity of the tango songs, performed with expertise and passion by Vladmimir Kotsiouruba on violin, Greg Harbar on accordion, and Thomas Helton on string bass, provide the dramatic foundation for the action. Dancers Deanna Green, Arneita McKinney, and Michele Brangwen give polished performances with appropriate commitment to the dramatic intention. Actress Sandra Tapia is mysterious and interesting in her role as observer and narrator of poetry written by Brangwen. Kris Phelps' moody lighting enhances the piece greatly, and Summer Dawn Collins' costumes of elegant evening attire hit the right mark.

I found "Desesperados" to be pleasant, but missing something. While it has many interesting moments, the movement palette is minimal. But, perhaps this was a deliberate choice in keeping with ideas about waiting and longing for change to happen. The beat may go on, but we don't always get what we desire.

Saturday, June 26, 2005 Cullen Theater
By Linda Phenix

The Metropolitan Dance Company and Fly Dance Company joined forces at the Wortham Center's Cullen Theater on Saturday, June 26, 2005. Audiences were treated to outstanding dancing thanks to artistic directors Michelle Smith (The Met) and Kathy Wood (Fly). Kris Phelps' creative lighting designs enhanced the many fine works on the evening's program.

Fly, always the crowd pleaser with their signature fusion of hip-hop and other dance styles, performed to a variety of music selections. Fly's first piece, "Snap," introduced the company of five male performers who danced a short and sassy piece to a Herbie Hancock song. Of the four dances presented by Fly on the Saturday night bill, the strongest choreographic offering was "Cueuy" (Boogie Man). "Cueuy" was performed to the exuberant sounds of Garcia y Reyna, a duo of classically trained guitarists with a style evoking a fiery Latin rumba. Wood and her dancers captured the brisk and exciting guitar work of Garcia Y Reyna in a dance that pertained to all things circular. Fly dancers were spinning and circling the stage with big, bold traveling patterns. At one point, each performer bound into the air in a loop-like fashion while the other dancers rolled underneath. The circular movement themes provided a wonderful backdrop for the hip-hop movements that turned up in unexpected ways. George Caso, Javier Garcia, Gabriel Moreno, Armando Vargas, and Rock Williams are enigmatic performers with unique styles that were showcased in numerous solos. Kathy Wood and her husband Mike have worked diligently to turn Fly into a touring machine. Last season, Fly toured the country performing in nineteen different states.

The Metropolitan Dance Company kicked off the show with Marlana Walsh's "Doo Wop Rock," a suite of short dances to musical oldies. It served as a showcase for the entire Met company, a large ensemble sporting many new faces. Walsh's piece was a launching ground for the new dancers who performed well showing spunk and strong technical expertise.

Met dancer Kiki Lucas has been given several opportunities to choreograph, and she delivered her most successful dance to date. "Inbalance," a dance for six, revealed an ambitious venture for Lucas. She showed artistic growth particularly with thematic development and form. The first section began with two dancers positioned upstage in a pool of light. The dancers began connected and then they separated, establishing a theme of "together but separate" that continued to unfold in a finely crafted duet. Lucas took the theme in a radically different direction by introducing two new dancers who entered the action as if on a mission to break up the pair. A fascinating segment unfolded with the original dancers separated, each one manipulating another dancer. The second section lost some of the intriguing aspects present in the first section. All dancers were in constant motion that gave this segment more of a "dance for the sake of dancing" feel. Lucas, however, has a keen eye for design and a penchant for making fascinating spatial patterns and interesting partnering.

Dancer Joe Celij also delivered the goods with his duet "What More?" Celij demonstrated that dance can be entertaining and sophisticated. "What More?" was performed by Celij and Marlana Walsh, the Met's premiere dancers. The duo was riveting in this work that seldom had them leaving the floor. There was a stream of consciousness quality to the piece that worked in large part because the movement was so inventive, and the dancers were flawless in their delivery. Celij and Walsh used their entire bodies to caress and at times support each other in what could be a sensuous tribute to the similarities and differences between the sexes. Celij included periodic stops in the action, such as one that had the gorgeous Walsh perched on his thighs as he leaned back with flailing arms.

The concert closed with Katarzyna Skarpetowka's "Tidal Intersections." Skarpetowka, a dancer with David Parsons, took inspiration from music by Phillip Glass and Ravi Shankar. The Glass/Shankar score provided a brisk and dramatic theme of urgency.

Joe Celij, Sara Chase, Pam Chu, Lindsay Lab, Leigh Ann LaBorde, Dana Lester, Kiki Lucas, Elizabeth Norris, Jennifer, Ritorto, and Marlana Walsh performed their hearts out with razor sharp dancing. Skarpetowka used a somewhat traditional palette of modern dance to full advantage in a piece which had groups of dancers moving on and off stage exuding a powerful sense of ebb and flow. At one point, dancers formed a wall of spiraling torsos as if to protect Walsh who was dancing as if her life depended on it. "Tidal Intersections" escalated to thrilling proportions and ended with Walsh center stage shooting her fist into the air.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

June 3, 2005 Barnevelder Movement Arts Complex
By Nancy Galeota-Wozny

Lisa Gonzales offered three works for Program A, the first of which I could hardly see due to low light levels. Even amidst the darkness of her first work, Silt, I found Gonzales' long-limbed style gave her a regal, but slightly pixie, quality. Gonzales goes foreign film in brave brave bull, a cinematic bi-lingual piece, poetically portrayed by Roberta Cortes. An umbrella that rained rose pedals sets an arresting opening image.

Gonzales transcends to physics and philosophy in the things themselves. This duet between dancer and projected commentary jumps between humor and deep thinking. Finally, the light levels are bright enough to view the full extent of Gonzales' considerable movement talents. Her style, clever and unpredictable, makes a crisp complement to the bookish text. She ends with yet another umbrella. She stands under her miniature exotic-drink umbrella with a raging rain soundtrack roaring in the background. It's a sweet moment, approaching poignant, with a side dose of inner snicker.

Chrissy Leach's Light mirrors the cool detachment of Thievery Corporation's sultry jazz score. Leach proves a capable performer in her short but eye-catching solo. I appreciate her restraint in letting the music have space and meaning. At times, she appears to be drinking in the sound and letting herself just wallow in the sensuous sounds.

Roxanne Claire's Salt, more carved than choreographed, leans towards dance noire. Claire resembles a 20's movie star poised on a kelly-green bench with her sharp angled hair-do. At first, her nimble feet do most of the dancing. The dexterity in her feet, ankles, and legs is nothing short of astounding. She captures the essence of waiting with tiny toe shuffles in exact time with the music. In fact, the whole continence of the piece reads like cinema as each shift appears like another frame. She looks like an animated sculpture adjusting herself in search of a more perfect position. Her legs resemble alabaster knives with sharp and pointed dagger-like moves. Eventually, a rhythm builds and her arms and hands enter the picture. A series of rapid, precise, and exact gestures seem to request something. She appears restless, sometimes demanding, and even disappointed at other times. At one point in the dance she falls off the bench landing in a second position split. The spell breaks in a moment of self awareness. Quickly, she recalls her status as "queen of the green bench" and begins all over again. Salt is rich with incredibly detailed and wonderfully novel combinations. Claire does so much with so little in this densely compact solo. Ultimately, she arouses more questions than answers. Who is the elegant woman, why is she kept waiting, and what is she waiting for?

FLY Dance Company performed and choreographed TRIAD, Yellow, Blue, Red to the guitar music of Garcia y Reyna and mellow music of Herbie Hancock. FLY's choreography showed invention in a sequence where the flyboys end up in a major tangle. Arms tie and untie as they try to figure out how they are connected to one another. The flying summersaults from the wings kept the action going. Rock William's charisma combined with his ability to look like he's swallowing the movement provided a high point. The wild look in his eyes make me think he as surprised by what is happening to his body as I am. The two new members possess all the necessary skills but lack audience rapport.

Rebekah French's The Little Peasant looks like a dance in search of genre. French tells a folktale with the help of some unusual projected images, for example, pancakes. The movement channels a fairly good vintage Doris Humphrey style. The video footage, crude and funny, confuses more than it explains. The storytelling, the odd video choices, the old fashioned movement, adds up to an intriguing brew. I wasn't sure what to do with the mix once it was done but I had fun watching it all come together. The piece feels a bit unfinished and could use some more time in the choreographic oven.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

Libi Lebel, Conductor
with Psophonia Dance Company

June 5, 2005 Cullen Theater
By Nancy Galeota-Wozny

Psophonia Dance Company collaborated with the Doctors Orchestra of Houston, under the direction of conductor Libi Lebel, for a Sunday afternoon family concert at the Cullen Theater. This was a wonderful medical community event that featured doctors on stage and in the audience. The dance offerings were a team effort by choreographers Sophia L. Torres, and Sonia Noriega, Psophonia's co-founders.

I applaud the recent trend towards dancers using live music--nothing could be more potent. Having an entire orchestra on stage is not without its challenges and Psophonia ran into a few of them. The program opened with Handel's Water Music Suite. The audience did not even get a chance to get a glimpse of the orchestra by itself. We were met with music, fabric, and a flurry of movement all at once which made for some visual chaos. The dancers confined themselves to a tiny wide strip of the apron directly in front of the orchestra, so that both the orchestra and the dancers looked pressed for space. The choreography honed in on the water concept with flowing moves and rippling blue fabric. A quiet section with the dancers under a blue tent with a flashlight provided a clever underwater scene. The spare quality of this section worked well with the orchestra and was more mindful of the setting. The piece could have benefited from more such moments.

The second piece on the program, Scenes from a Doctor's Life, better suited for the space and the event, utilized a gentler touch in these segments. Simple staging and a pedestrian style worked well. The waiting room piece, set to Leroy Anderson's cheerful "Syncopated Clock," played out a familiar scene to anyone that has paid their dues in a waiting room. Psophonia tackled the more serious side of doctoring in a solemn group work danced to Barber's famous Adagio. This piece proved to be the most substantial piece of choreography of the evening. At the end, one dancer leaves the group, as a reminder that death is part of the healing process. The emergency room section, set to the Rossini's William Tell Overture, brought together a woman in labor, a woman with a broken ankle, and a funny fake trauma surgery with complete with blood. It all ends happily with the baby flying out just in time for a snapshot. The Dancers were Sophia L. Torres, Sonia Noriega, Jesscia Herzogenrath, Scarlett Barnes, Fina Reisinger, Ashley Myers-Turner, Danielle Mouledoux, and Mireya Gamez-Wahl. Two bold doctors, Dr. Chrissie Ott and Dr. Jonathan Wilks, along with volunteer Lauren Tillery, joined the ranks of Psophonia for this piece. Judging from the audiences' cheerful reaction, they recognized their lives unfolding before them.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

June 4, 2005 Barnevelder Movement/Arts Complex
By Nancy Galeota-Wozny

Travesty Dance Group, a collective of three dancer/choreographers, united to present an evening of new and recent work. Rebecca Malcolm-Naib's Time Trials mixes lush music and moves in a stirring duet between Malcolm-Naib and Katharine Livingston. A large clock, center stage, sets a serious and time centered mood. A generous driving pulse fuels the action, while both dance with a punctuated clarity making each movement appear final and complete. Before each section the dancers manipulate the clock backwards and finally forwards. At the final hour, with time sped ahead, the dancers return to the beginning with added fervor and desperation. Both the time lapses and movement changes suggest a measurement between time and relationships; time changes everything. Newton Howard's vivid score supported Malcolm-Naib's highly detailed and ornate choreography.

Kimberly Karpanty opens her solo, Private Dominion, suspended in mid-air, mid-fall, traveling floorward. (The chair she is leaning on is all but invisible.) I only wished this striking image would have stayed a bit longer to create some breathing space after the first dance. Clad in over-long sleeves, Karpanty searches for support via the chair, the surrounding space, and the floor. The work might have lost punch from program order as the mood seemed remarkably similar to the previous work. Certainly, we have all seen enough chair dances. Fortunately, Karpanty stays clear of the "how many ways can I use the chair" direction. When she did use the chair, it served a purpose. Elegant moments of suspension and support alternate with sweeping moves across the floor. A delicious sequence where Karpanty's hand crawls out from its hidden sleeve left me curious about this handless maiden. Karpanty's handsome performance propped up her slightly generic choreography.

Three, a Travesty collaboration, explores all things "three," from marriages to triangles. Three is an excerpt from an evening-length piece. A humorous science program sequence on the nature of bodily three-ness kept the action moving. Karen Stokes's ridiculous drawings of scientific concepts lightened up the proceedings to an absurd level. Three had a few ragged edges, however, I was left with the distinct feeling that rehearsals must be a blast.

Karen Stokes's The Pronoun Pieces depicts a broken world. The place conjures equal parts asylum and prison. The dance opens with Julie Fox as "She," playing the goddess of a bleak terrain as she hides in her netted-hoop skirt. She peers out from her cage/skirt as if she is in a prison, perhaps a prison of her own design. Surrounding her, stand armless, headless, and legless dress forms- a dismal army of useless ghosts. Bald-headed bodies in fetal positions litter the floor. The scene evokes decay, confusion, and an otherworldly enchantment.

In "He," John Box plays a deranged general of a rough troupe of ragged followers. Box, who looks like some kind of pirate /cowboy off his meds, leads his militia here and there in a relentless show of leadership run amuck. This section speaks to a kind of rogue lawlessness where authority takes the nasty shape of dominance. Box convinced with his strange gestures and lunatic facial expressions.

"You and I," danced by Toni Leago Valle and Box, explores a love relationship gone defunct to the point where they have to use megaphones to communicate. This couple is beyond going through the motions, the motions have given up on them and they entered a dysfunctional puppet stage. As sad as this seems, it's the funniest part of the dance.

The piece ends with the cast downstage in a line crouching and panting while the indifferent goddess-princess appears for a final crossing. The cast, all wonderful, danced with verve, guts, and a willingness to enter the "unpretty." Fox proved a wonderfully detached guardian of this wretched kingdom.

The Pronoun Pieces could have benefited from some radical editing. At times, it seemed redundant and over long. And, I am left with some questions. Who are these people, how did they get that way? Is this the future or the past? Perhaps the questions are embedded in Stokes's plan. A sense of vacancy pervades-perhaps The Pronoun Pieces suggests a missing "subject." I felt a Dickensonian glimpse of what's to come if things as they are don't change. It that's the case, Stokes has nailed it. It's a world with no "there there." This is a deep and dark work, rich with startling movement and sinister images of a place you might never want to visit.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

July 11, 2005 Barnevelder Movement Arts Complex
By Nancy Galeota-Wozny

The first part of the program could have been called "The Vermont Invasion." Jennifer Kayle, Lisa Gonzales, and Pamela Vail all hark from Middlebury College, a quiet breeding ground for progressive dance tucked away in central Vermont. All three choreographers have gone on to graduate school and now hold teaching positions throughout the US.

Kayle's muscular presence serves her cryptic piece, she was she thought, a meditative solo to a dense language-based score by Tidy Bayer. Inventive movement combinations and intense focus contrast the hypnotic score. Quick bug-like moves on top the voice-layered score suggest a kind of unraveling.

Vail channels Liz Lerman in her talking dance solo. Swinging her arm in circles she muses on the nature of subtlety and the strange corners of movement, language, and the silent "b," in her solo simply called b. Compact and quick, Vail projects a solid no-nonsense approach to dance making, a clear unfussy quality in her movement, and a strong nose for irony.

Vail, Gonzales, and Kayle call their improvisation group "The Architects," as they manipulate space, time, and words in uncanny ways. Their ease, confidence, and humor are a joy to watch.

Aileen Mapes' Happenin' 2 is a perky romp for six dancers. An effective beginning juxtaposes a headless skirt with dancing feet against an armless petticoat. Unfortunately, after that, the dance headed down the bland "moderndanceville" road.

Toni Leago Valle collaborated with composer Misha-Michele Penton in Hopscotch. A hint of a circus and eclectic colorful costumes suggest a funky troupe of thespians on their way to their next show. I even picked up a Shakespearian vibe from the six lively dancers. Perched movements in processional form combined with Penton's score of spooky children's voices render a sense of traveling. Like a good parade, the dance marches across the Barnevelder stage with spirited fanfare and a gentle mystery as to the "where" and "why."

Elegy, the most elegant and thought-out work of the evening, came from Kent De Spain, a Dance and Theater Assistant Professor at UT Austin. The dance begins with De Spain and Leslie Dworkin, clad in men's suits, sitting in chairs on either side of the stage. Each has one arm outstretched as if signaling surrender. The momentum builds slowly with unpredictable turns and twists, a kind of rising and falling, of coming together and moving apart. De Spain points to the complexity of the human tangle as the dancers move in and out of the relationship. Dispassionate lifts alternate with the dancers going off into their privates spaces. Elegy ends with the dancers spinning while swinging their chairs in a violent storm of motion. The metal chairs catch the light in a stunning shimmer. It looks like all hell just might break loose. Thankfully, the lights go dim before it does.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

June 17, 2005 Barnevelder Movement Arts Complex
By Nancy Galeota-Wozny

Rebecca Valls enters the whimsical mind of Edith Sitwell's poetry in Facade. As dangerous as dancing to poetry is these days, Valls crashes head-on into the spaces between the words without apology. The first duet places Thomas Henderson (fooling me entirely) in drag with Erica Lewis in an impish duet. An enchanting floor section with the dancers lying on their backs and their legs up in the air carried whimsy to higher ground. A final section, "Daisy and Lily," (actually an older work), shows the genesis of Valls' interest in Sitwell and her finesse with pairing gesture to text. Valls proves she can be as kooky as Sitwell in these three charming vignettes.

Erin Reck dedicated Let Me Fall to her mother, (good advice to any mother). The duet, lusciously danced by Bonnie Boykin and Reck, subtlety explores support. One dancer tries to fall but the other stops her. A lush guitar score lends a flamenco feel. Reck and Boykin, looking serious and intense, suggest the tricky negotiation between falling, and the pitfalls of the too-soon catch. Boykin's growing maturity shined throughout. Reck's other work, Ashes to Ashes, confidently danced by Joe Modlin and Lindsey McGill, suffered from "modern dance vague syndrome" where the movement became unmemorable.

Leslie Scates offered an improvisation that she calls A Bun Dance. It's been suggested that it's difficult to review improvisation. With that said, I am going to take a stab at it anyway. Three dancers begin in a center spot. Each take turns making their "movement statement." It's a bit like saying "this is who I am and these are the movements I will be playing with." The piece unfolds into a dynamic exploration of the themes and various tasks. Scates plays with score-based improvisation, which keeps the action rolling. The score's structure, carefully laid out in the program, escapes this viewer. But isn't that the point? Score or no score, Scates crafts a vivid dance right before our eyes. Scates, and her On Call Dance Team of JoDee Engle and Julie Fox--all charming performers, look wonderfully at ease with the "not knowing" part of improvisation. The music selection of Bulgarian vocals adds drama but also weighs the friendliness of the process down. Scates' organic approach to making dances is a bright light on the Houston scene. Whether she is working with set material or improvisation, a fresh feel pervades.

Mark Dendy, in collaboration with Lawrence Keigwin, created Night Moves for Jane Weiner and it shows. The piece seems exactly crafted for Weiner's hefty stack of skills. If ever a dance could capture what goes through a person's mind late at night when they're mulling over their life, this is it. Dendy captures the desperation and exaggeration of a contemplative mind. The piece, neatly divided into three sections, follows an emotional path from grief to resolve. Towards the end, we just see Weiner's back in convulsive sobs. The final content is obscure; we don't know the story. Weiner ends aching backwards with her palms facing forward. She seems to be asking, "What else do I have to do?"

Weiner also offered excerpts from 'S (A tale of Possession) and The Cooking Show. In 'S (a tale of Possession,) Penny Tschirhart flips red stilettos across the room with an air of jazzy confidence in the duet section with Modlin. The Cooking Show examines just the mayhem that ensues when food rules. Flour started flying towards the end reminding me of eighth-grade cafeteria food fights.

Review commissioned by Dance Source Houston

For more dance reviews and information, visit www.dancehunter.org, www.houstondance.com, or www.houchron.com

home