York manufacturer of fine dance apparel for women and girls. Click
here to see a sample of our products and a list of web sites
With Body Wrappers it's always performance
at its best.
Go back to Flash Reviews
Flash Review 3, 5-14: Look What's
Under the Couch!
Haworth and Loulaki Present: Post-Modern Dance!
By Jill Emerson
Copyright 2001 Jill Emerson
Step right up! Enter the amazing,
indefatigable, delightfully downtown world of Amanda Loulaki and Curt Haworth!
Now, for a short time only, at Danspace Project at St. Mark's Church, May 11-13.
Welcome, one and all!
Suggestions of a showy circus-like
arena aren't often presented in modern dance, let alone downtown, which is why
Curt Haworth's "Step Right Up" and his magnified portrayal of YOUR ONE BIG CHANCE
AT STEALING THE SPOTLIGHT (literally in the shape of a star, thanks to David Fritz),
seen over the weekend at Danspace Project, swaggered with particular irony. Haworth
moves in the fluid organic style befitting a ten-year David Dorfman Dance member.
As with all of the extraordinary dancing of the night, his movement encompassed
release technique. The combination of the words "modern," "downtown," and "release
technique" never seem to add up to "presentational" and that's just what Haworth
played with in his quintet.
Delightful Nami Yamamoto, wearing
a modified metallic tuxedo jacket designed by costumer to the stars (the dance
stars, that is) Naoko Nagata, played "hostess" to the piece. "Step Right Up" turned
into a sort of game show in which the dancers competed for the spotlight and the
audience's attention. "You, you right there," Amanda Loulaki bellowed to someone
in the audience. "This is how I dance for you." Playfulness, below-the-belt hijinks,
and grandiosity: this piece had it all. Simultaneously Haworth revealed the stuff
beneath the packaging: a human element in which the performers appeared as vulnerable
as Karl Anderson in his tighty whities. (God bless him for that moment.)
Fritz artfully lit the fall-out of
pomp with bold colored lighting, even including the aforementioned star-shaped
spotlight; likewise he added flickers of light, as if there was a short circuit,
and things on stage weren't quite as together as they should be. Doug Henderson's
score, equally brilliant, enmeshed the presentation with perfectly unrefined prattle.
Haworth's solo "Static" philosophized
on a similar angle: the relationship of the performer to the audience. What happens
when we buy the ticket? What are we, in our audience role, hoping to see? "Brain
food, brain candy, or indulgence?" Haworth asked. Contradicting the title, he
flung his body around in a constant proposition. This is who I am. I am the dancer/choreographer.
I am in control, he seemed to say. And why are these lights here anyway? Haworth
questioned the whole notion of presentation.
Sharing the program with Haworth
was Amanda Loulaki. Loulaki's "There Is Something Under My Couch" was a very "now"
quartet for women. It was "now" in terms of the industrial, electronic sound score
by Robert Gould (though Radiohead was a little overkill), the styling by Stelios
Stylianou and the geometric set by Dante Brebner, and the movement, so stripped
bare of any pretense it was almost pretentious. Paralleling the collage of music,
the dance became fractals of angsty scenes. Dancer Jenny Argyriou was a dog. "Only
good girls get treats," she was told. Charming Emily Tepper lent an infectious
smile as she flip-flopped downstage and told us her secret: that she'd like to
cut open a pigeon to see why they bob their heads like that. A little bit of the
nonsequitor (see title), a little bit of drama, the piece still managed to ring
true throughout, and when Loulaki cried out with genuine emotion "Do you love
me?" I felt very sad and very happy at the same time, and somewhat distracted,
too, as if there was indeed something under my couch.
back to Flash Reviews