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Flash Review 3, 6-26:
Eight Up from 40 Up
40-somethings' Church Dance
By Terry Hollis
Copyright 2000 Terry Hollis
On Saturday at Danspace
Project at St. Mark's Church, Colloquium Contemporary Dance Exchange
(director, Robin Staff), presented 40 Up 2000, a celebration of
seasoned dancers and choreographers.
As the lights come up
on Walter Dunderville in Heidi Latsky's "See Me," he appears to
be a man with a mission. Costumed in dark rehearsal wear and accompanied
by a pulsing techno beat he moves through a set of weighted and
technically demanding phrases that escalate in both difficulty and
intensity. At one point Mr. Dunderville stands in place and, with
his eyes closed, moves through a series upper body gestures. A dance
that seems to be about ability turns out to be more of a physical
In "What Comes To The
Surface," choreographed by Debra Wanner, Ms. Wanner moves in and
out of a stationary pool of light, testing the ground under her.
At certain points she abruptly cuts into dutiful walks or lies motionless
on the floor. After examining all of her possibilities in this new
territory she ends by moving back into her beginning position. The
solo is set to the music of Debussy.
"Half Full," choreographed
and performed by David Parker, takes us through one woman's preparation
for a night out. Parker, in a black dress, provides the sound by
playing the rim of a wine glass. As he takes sip after sip the rhythms
he hammers out with his feet become more passionate and the balletic
positions that wind through the piece show us a lady confident of
her own femininity.
Zvi Gotheiner's "Enfold"
offers three views of togetherness. Valerie Vann-Oettl and Franz
Oettl almost glide across the stage with their infant son Raphael
Oettl in an image that approaches utopia. Robin Staff and Peter
Anazalone engage each other in a playful, fast moving duet. The
last duet, performed by Christine Wright and Dirk Platzek, moves
seamlessly and demonstrates the rapture that can bond two people.
Youth was the Primary
focus in Faye Driscoll's "Foo Is Foo Was," to music by Belle and
Sebastain. The quirky choreography (performed by Lisa Nicks) was
full of quick mood changes and the restlessness that is the foundation
of growing up. "Elizabeth's Solo," choreographed and performed by
Eva Welchman uses a sharp percussive score to contrast the sometimes
Amos Pinhasi uses images
of birth, sleep, and concealment in his piece "Canyons." As he covers
himself and emerges from a large piece of brown paper he appears
to be working towards some kind of separation. Although the piece
ends with him covered on the floor, he doesn't seem trapped.
The program ended with
"Between The Lines," Claire Porter's sometimes funny look at conformity
and individuality. Using word-play and performers forming every
possible variation of a line, Ms. Porter illustrates how we unwittingly
fall into customs and lose some of the free thought that separates
us. The performers included Ms. Porter, Barbara Canner, Karen Eubanks,
Ara Fitzgerald, Martha Hirschman, Susan Mathews, Paulette Sears,
Susan Thomasson and Dawn Watson.
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