RSS 2.0 FeedFebruary 9, 2011, Dance
Eleven viewpoints in motion
Eleven choreographers tested their mettle in City in Motion's annual "A Modern Night at the Folly." Covering personal stories, cultural demonstrations, and abstract conceptions these local choreographers presented a compelling evening of dance.
Saturday night at the Folly Theater, City in Motion Dance Theater presented its eighth annual A Modern Night at the Folly. As always, the evening served as an open forum for local choreographers to showcase their works. Eleven different choreographers presented this year in front of a well-mixed and fair-sized crowd. Attendees continued to filter in late causing an almost twenty-minute delay to the already two-hour concert.
Once settled, the performance began with a wonderful creation by Patrick Suzeau. Inspired by Hindu concepts and principles, he danced an expressive solo to live sitar music and vocals, which transformed the space and completed the piece of art. Suzeau, adorned with ankle bells, moved proudly and effortlessly, maintaining perfect balance while mastering some very difficult positions.
The most drastic transition from one act to another occurred between Suzeau’s Invocation and Tara T. Glaus’ flamboyant group piece, The Nudibranch Ranch. Glaus’ work was strikingly symbolic of graffiti art. Beyond the neon colors and strobe lights, the movement was spastic, harsh, and, to some, potentially offensive. It was more of a high-drama, big reaction piece, whereas Suzeau’s told a spiritual story.
Also sharing a personal experience and confronting social mores was Maura Michelle Garcia in her tribute Earth Madness. Garcia, a very self-confident woman, moved fervently to powerful text by Phillip Meshekey. She matched her internal struggle with her external agitation, bordering on rage but ending in a state of content.
There were two works featuring members of 940 Dance Company, a Lawrence-based performance and outreach organization. Susan Reiger presented Ark-eology, which displayed some unique choreography centered on animalistic and nature-inspired movement. Company member Justin Hundley debuted a duet, Back to You, which featured two fellow company women attempting to overcome a magnetic bond to each other. The musical selection “Fok” by Olafur Arnalds was more engaging than the dancing, blending classical sounds with contemporary beats.
DeeAnna Hiett’s Givin’ Up, a sensual and passionate duet with Gavin Stewart, received the most audience applause and several whistles. Hiett was sultry and seductive, desperately dancing for the affection of Stewart who maintained a smooth and strong stance until finally giving in as the lights dimmed on the panting couple.
Act II started with a heartfelt trio choreographed by Mart Pat Henry and set to three beautiful works from Eugene Friesen’s album Friends. In a Solemn Vow, Kelanie Murphy, Hiett, and Paula Weber represented three generations, each recalling a stage in their marriage—from joy to struggle and eventually, atonement. The choreography for each woman’s solo was age-appropriate and danced beautifully.
Tiffany Sisemore also presented a trio of women, this time responding to the spoken verse Our Story Has Always Been Told Through Beats. Glenn North, who recited the poem in four parts, had a commanding voice and exquisite cadence. Although the lack of costume coverage was slightly distracting, the dancers moved gracefully to North’s inflection.
The Disappeared, by Suzanne Ryan, gave voice to missing persons as each dancer pinned a picture to her dress and retold their stories through movement and expression. Ryan’s modern choreography and Arvo Pärt’s score were touching and the students did a commendable job of conveying emotion for the lost souls.
The last two pieces of the showcase were less effective. Maggie Osgood Nicholls’ duet Lover’s Spit achieved little visually and had rough musical transitions. Something Unknown by City in Motion’s Stephanie Wittler was angular, two-dimensional, and sporadically disjointed.
The evening’s eleven choreographic works covered varied spectrums, including personal stories, cultural demonstrations, and abstract conceptions. It was a diverse night of personal expression and declaration, to which the choreographers hopefully were satisfied.
REVIEW:
City in Motion Dance Theater
A Modern Night at the Folly
Saturday, February 5, 2011
Folly Theater
300 W. 12th Street, Downtown Kansas City
For more information visit http://www.cityinmotion.org/
Top Photo: Patrick Suzeau in Invocation. Photo by Earl Richardson.
Dance Contributor
Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company.
She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008. Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.
She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.
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