New 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 for purchasing.
With Body Wrappers it's always performance at its best.
Go back to Flash Reviews
Review 1, 1-28: Barefoot & Salty
Miller Lands, Holmes Salvages
By Maura Nguyen Donohue
Copyright 2004 Maura Nguyen Donohue
This Flash Review
is also sponsored by Lydia Johnson Dance. Want to sponsor a Flash?
Click here for more information.
NEW YORK -- K.J. Holmes
and the Bebe Miller Company presented enticing sketches during their
shared evening of works-in-progress at Danspace Project at St. Mark's
Church this past weekend. According to her press release, Miller's
"Landing/Place," which premieres officially next year, concerns
the impact of the unfamiliar on the every day. It's a collision
of images that tells you you're not at home. At this stage I didn't
find the images distancing or alien but rather warm, compelling
and comforting. In fact, at one point the mix of the Church sanctuary
setting with animated images and soothing sound design reminded
me of a dawn return home after a long night out.
The work opens with
a projection on a black scrim hung downstage in the sanctuary. Dots
of light appear like a constellation run amok. Gradually the buoyant
Little Dipper expands and we realize we're watching captured points
on a dancer's body. More black and white projections, designed by
Maya Ciarrocchi, appear on the back wall. Though the projections
upstage Kathleen Hermesdorf's first entrance she, Kathleen Fisher,
Darrell Jones, Angie Hauser and David Thomson soon outshine the
multimedia elements with bursts of brilliant dancing. Extended sequences
full of repetition surround rushes of vibrant movement with dancers
sometimes reaching awkwardly, gleefully vibrating or lushly devouring
space. After Hauser chops lemons each performer, including musician
Albert Mathias, sucks and jiggles, becoming a human blender.
Jones keeps an open
crate of lemons intact while jumping repeatedly in place like a
joyful young boy. We catch a sudden glimpse of warm, happy days
spent barefoot and salty.
Holmes presented "Salvage,"
the second half of her evening-length "Wreckage/and Salvage." This
exploration of time, memory, and vision happens in mostly improvised
solos and duets in which the choreographer is joined by Lisa Gonzalez
and Kayvon Pourazar. Pourazar begins by dropping a path of dried
leaves on a diagonal. Holmes's voice resounds through the space
as she sings from the balcony with a purity and strength that tugs
at my gut. Gonzalez is all limbs and fingers as she reaches and
plies in a sequence that echoes the leaves she crunches, cold and
detached. Pourazar blasts the brooding atmosphere apart. He's a
rambunctious male tossing himself about, scattering leaves and attacking
the space. There are moments when the dead leaves and dark score
seem to accentuate the inherent commentary on age and gender, with
Pourazar and Gonzalez appearing childlike beside the vivacious and
veteran Holmes. She overwhelms us with an opulent display of performative
riches revealing a woman experienced at treasure seeking on stage.
Go back to Flash Reviews