to you by
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 3, 2-8: Flurries
Alonzo King's 'Rules' of the Game
Copyright 2005 Beliz Demircioglu
Sponsor this Writer. Click here for details.
NEW YORK -- Snow had
taken over New York on January 22, but this didn't stop an energized
audience from finding its way to the Skirball Center for the Performing
Arts to see Alonzo King's Lines Ballet's stunning performance. Elegance
and technical perfection were carried into even the most unexpected
"Before the Rules,"
a premiere which addressed personal and social struggles, opened
the program. King explored different perspectives on maintaining
one's individuality in the face of societal strictures.
The score, collaged
by King, included original music by Pharoah Sanders. The eternal
beauty and sincerity of movement came out to music ranging from
electronic to classic. In some parts of the score constant repetition
of words like "Yes" or "I forgive you" built up the dynamics. With
this repetition, the variety of the movement accentuated the different
meanings that could be applied to the words.
The dancers' relationship
with the music made them seem like feelings hidden in the notes.
The struggles evoked, patterns, pace, and volume of the music were
all carried into the choreography but not as a simple mirror effect.
Rather, they completed each other.
The work was already
complete with the movements and Christopher Haas's minimalist set
design, making Axel Mortenthaler's video projections seem unneeded
in most sections. Also, the transitions between the different shots
were not edited well and stood out awkwardly. In two sections the
projections added an enhancing layer. Early on, a simple red rectangle
taking up only part of the screen appeared in the projection. This
completed the simplicity of the costume, lighting and set design
and therefore advanced the choreography. And towards the end of
the piece, as the dancers exited to the words "I love you" repeated
again and again in the score, animated human figures in black were
projected running across the screen.
King is a master in
creating multiple dynamic places onstage. The complex patterns created
in duets were enriched by simultaneous solos. The dancers revealed
themselves as technical virtuosos with radiating stage presence.
They captured the stage so well that it felt as if the space would
have to expand to accommodate their extended lines. Most of the
time they slid through the air in their physically very difficult
movements, but sometimes they bounced when they were not stable
in a position, failing to make a smooth transition.
The program also included
the 1998 "Who dressed you like a foreigner?", which opened with
a duet in beaming green light designed by Morgenthaler. This piece
showcased the flawless technique of the dancers. Drew Jacoby, Prince
Credell and Lauren Porter Worth's striking clarity and stage presence
In this work, even though
King's movements were technically very challenging, the source was
primary and universal. As the dancers moved, the rhythm energized
the space so strongly that it took over my heartbeat. The piece
ended with artificial snow falling over the dark stage and onto
Laurel Keen and Brett Conway. The emotions were set free as if a
clenched fist was slowly opened.
Go back to Flash Reviews