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Last weekend the Wylliams/Henry Contemporary Dance Company presented a standout spring program at UMKC's White Recital Hall.  They offered styles from modern to contemporary and even some Southern grooves. Showing off diversity and adept storytelling ability, the Company exhibited what they do best.

Opening the program was Moore in Time, which showcased pleasing choreography by artistic director Mary Pat Henry. Inspiring the piece were Henry Moore's modern art sculptures, which Henry projected throughout the piece and juxtaposed with the dancers' 'live art.' Both the men and women displayed tremendous strength and flexibility, molding themselves into shapes and positions in couples and as a group. The second section began with DeeAnna Hiett standing on top of Michael Tomlinson's shoulders as he walked toward the audience. Another more upbeat section featured the women running and diving into the men's arms.

The only major issue with this work was that the lighting was terribly dark. It often was difficult to see all the dancers at once and I missed some of their movements. A brighter and more conceptual lighting design could have greatly enhanced the piece.

Six women took the stage in Paula Weber's To Each Her Own. Wearing the same flesh-colored leotards from the first piece, the women began the dance in unison. The majority of the work, though, was performed individually or in pairs, with each woman telling her own story, sharing her own experience. The contemporary choreography paired beautifully with the emotionally moving, classical score by Giuseppe Pergolesi. Each dancer displayed her own unique movement quality and inserted her own meaning into the steps. Again, it was difficult to see the emotion in their faces because of the unusually dark lighting.

Ruth Barnes' mixed-media work, Chloé/Christina, was the low point of the night. Originally performed by the Company last year as Angela/Christina, the performance combined live dance with projected video. Solo performer Chloé Abel began the dance on the floor executing the same steps as on the video. The video switched to scenery and continued to go back and forth between it and the choreography. At one point, Abel went behind the screen and her shadow mimicked the dancing on the video. It created an interesting point of view, but was visually distracting because the live and taped Abels' were not in sync. A did appreciate Barnes' concept, but it did not work. Everything from the music and choreography, to the costume and execution was lackluster.

Then, the most exciting performance of the night followed closing the second act. Gary Abbott's message was clear, evident and could be summed up by the dance's one-word title: Desire. Set to a combination of tribal and classical music, the nature sounds heightened the dancers' basic instincts and animalistic urges. Their passionate yet vulnerable movement matched the climaxing and tender points in the music. The three lead couples gave exceptional, believable performances - building urges and fighting temptation despite erratic groans.  

As a whole, the ensemble possessed an extraordinary energy level and commitment to the piece. The women danced together like a herd of predators with each gender sizing the other up as potential prey. The last praiseworthy note goes to Abbott for giving his eye-catching work an obvious, and appropriate, beginning, middle and end.

Southern Exposure, based on events and themes of the South during segregation, was the sole work of the second act. Mary Pat Henry's personal dedication to this historical period featured pictures taken during the Civil Rights Movement and narrated text by Tim McLaurin. Henry's choreography was time-appropriate and the dancers' character portrayals were on par to their respective stereotypes.

Carolina Monnerat's character found herself to be the only one of her kind aware of and concerned about the racial divide. She took action, attempting to bring the two sides together through her friendship with her family's maid's son, Torens Johnson. Not until Johnson was killed by white men did the two races finally come together and make amends for the past. Monnerat lit up each scene with her pure and sincere performance. Johnson's stirring valor and Tracey Franklin's heartbreaking lament also were noteworthy moments.

While themusic selection was enjoyable, the volume was not. Poor narrator Rachel Nelson had to shout at least half of her script due to an oversight in turning the music down when it was her turn to speak. Many scenes were very reminiscent of Hairspray, making the piece commonplace, yet enjoyable nonetheless.

This Thursday, Wylliams/Henry will reprise Moore in Time at St. Louis’ annual Spring to Dance Festival. Looking forward to the fall, the company will host The Cyprus Avenue Concert, featuring musical selections chosen by KCUR’s own Bill Shapiro – should be exciting!


REVIEW:
Wylliams/Henry Contemporary Dance Company
Spring Program
White Recital Hall, UMKC Campus
4949 Cherry, Kansas City, MO
For more information visit www.wylliams-henry.org

Cover photo: Desire by Gary Abbott with dancers DeeAnna Hiett and Michael Tomlinson. Photo by Mike Strong.

By Laura Vernaci

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.