OU’S YOUNG CHOREOGRAPHER’S SHOWCASE

A VARIED AND ENJOYABLE EVENING

By Nancy Condit

The University of Oklahoma’s School of Dance’s annual Young Choreographers’ Showcase was a pleasurable, polished evening of ballet and modern dance by one graduate and eight undergraduate students.  The performance was held last Saturday evening, under the supervision of faculty members Steve Brule and Holly Schmidt and OU School of Dance Director Mary Margaret Holt, in Holmberg Hall in the Reynolds Performing Arts Center.

Master of Fine Arts candidate Kerri Lambert’s “Translucent Crescendo” was one of the more memorable, polished and fluid dances.  The on point contemporary ballet began with a shaking hand and partial arm extending from the black curtains at stage left,  In trunks so light he appeared unclad, one dancer stood still as darkly hooded and floor length caped dancers ran and walked from one side of the stage to the other and around him.  They gradually shed their robes, until the last caped dancer was uncaped, and, finally, had her head unshrouded.  All wore pale grey leotards for the women, and trunks for the men, which accented their elegant poise.  At the ballet’s end, the house lights snapped on as the dancers appeared suddenly, and still, throughout the house – on the stage, in the audience, even in the balcony. The only question this reviewer has is whether there is another way to light the dancers at the end since the overall lights were so brilliant – perhaps by individual spots?  Costume design was by Lambert, and lighting design was by Curtis Marxen.

Quoting from the press release, the work is based on a poem “written by Rainer Maria Rilke…  Lambert says, ‘The end of the poem shocks you with the statement: “You must change your life.”… It is the aesthetic of surprise that is so intriguing.’  The work is based on the surrealistic attraction to dreams.” The music for “Translucent Crescendo” was from Russian Seasons by Leonid Desnatnikov.  The ballet was presented in partial fulfillment of her requirements for MFA in Dance.

Terra Easter’s contemporary ballet Raw Lace started with a sinuous tango, and went into an on pointe tango in which the man lifted the woman over his head.  She rolled down his back and ended standing on the floor.  This may be becoming a more familiar move, but it’s still very impressive.

Brianna Anderson’s modern dance Salanguadou, based on the song of the same name by an unknown composer, was danced in the long full skirted dresses made famous by Martha Graham and Alvin Ailey, with three figures clad in white African like dresses and head wraps. Even thought there was the deeper meaning of the dancers seeking guidance from ancestors, this was a piece in which the viewers could simply “be” – a piece in which the dance was enjoyed for the dance.

In Mark Brett Young, II’s Coupons dancers performed to the folk song that talks about what they were going to buy with coupons – like wives.  The funny, enjoyable barefoot dance in coveralls for the men and day dresses for the hill women, energetically celebrated the variety of American country dance, including moves from square dancing.

Mario Romero’s You May Never See Them Again and Anna Claire Brunelli’s Animorphs are both well-done angular modern dance pieces.  In Romero’s piece, set to music by The Books, the dancers rise from their backs like reversed crabs and scuttle across the stage to a bird call and mechanical noises.  In the engrossing dance, they stand upright as one dances alone, white legs highlighted, clad in long sleeved leotards.  In Animorphs a woman is curled through a man’s legs as he walks.  They join the other two dancers, in a centipede-like form, and peel off, forming other creatures in this piece that looks at evolution.

Christopher Frazier’s Emancipation, while exploring slavery and it’s effects in the 1800’s, 1940’s, and now, says the piece is about freedom – “The ultimate goal is learning how to let go of technique and really experience the intimate and personal feeling that is dance.”

Molly Faith Jackson’s You, choreographed to George Gershwin’s Embraceable You, was a very pleasant modern dance that incorporated ballet moves into a traditional favorite.   It was effectively performed, with the dancers clad in a short black slip rehearsal dress for her, and a v-neck grey t-shirt and black leotard pants for him.  This was Jackson’s debut piece.

Adryan Moorefield’s Involution opened with a single dancer working slowly as the other five dancers ran back and forth – very effective.  The single dancer’s costume was brilliant aqua trunks, with an aqua belt like that worn by weight lifters.  Most of the dance’s work was done standing, with an emphasis on turns.  The piece was very enjoyable with a great variety of moves.

The lighting was supportive for all of the dances.  This reviewer didn’t find herself wondering where the dancers were, or why parts of their bodies couldn’t be seen.