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Review 2, 11-6: Amerika, through a Dance Palely
Rhoden Tells U.S. What Time of Day it is: Six O'Clock
By Corinne Imberski
Copyright 2002 Corinne Imberski
DETROIT -- Complexions,
under the direction of Dwight Rhoden and Desmond Richardson, brings
together an impressive group of dancers, but with choreography marked
by redundancy and lack of innovation, the October 8 program at Detroit's
Music Hall Center for the Performing Arts proved to be less than
stimulating.
The performance opened
with the premiere of Dwight Rhoden's "Red," an excerpt from the
evening-length "Anthem," to be premiered next season. According
to the program notes, each section of "Anthem" ("Red," "White,"
"Blue") focuses on "the strengths, vulnerabilities, diversities,
and adversities that address [the nation's] virtues in regards to
patriotism." While "Red" did offer an atmosphere of unity and strength
by having the full company (twenty dancers) dance a lot of unison
movement, the flashy choreography simultaneously offered a very
plastic version of the United States. The sleek and fast-paced movement,
accompanied by the music of Antonio Carlos Scott and Jimi Hendrix,
bought right into the popular view of the U.S. as a society marked
by people who do things quickly and without much depth, all while
wearing the latest fashions seen on MTV. The blur of movement, populated
by dozens upon dozens of high side extensions and arabesques, provided
no insight into the nation's psyche, nor did it explore the subtleties
and diversity that make this nation so unique -- it was a pale version
of America.
"Solo," a work for the
fabulous Desmond Richardson, proved to be the most enjoyable part
of the evening. Rhoden's choreography flowed organically through
Richardson, allowing us to see the exquisite control and freedom
that he has cultivated in his body during his many years of dancing.
"Solo" also brought some welcoming moments of stillness. These moments
filled the theater with more energy than any of the fast and furious
flinging of "Red." One should never underestimate the power of stillness
in dance -- especially when you have dancers with as much presence
as Desmond Richardson.
A duet for Valerie Madonia
and Seth Delgrasso, "Ave Maria" (an excerpt from Rhoden's "Grapes
of Wrath"), had some promising moments but it was ultimately unsuccessful.
A clever scoot on the floor and a prolonged balance for Ms. Madonia
while in a grande plie in second position on pointe offered some
refreshingly new choreography, but did not help establish a relationship
between the two dancers. There was also no clear relationship with
the music. It would seem to be impossible to ignore the emotionally
charged melody of "Ave Maria," but the choreography paid no attention
to the musical phrasings and the dancers seemed to just go from
step to step without making any investment in bringing an emotional
context to their relationship. Perhaps Mr. Rhoden's intent was to
portray a cool, disconnected relationship against the emotional
resonance of the selected music, but if this is the case, it was
not done clearly.
The last piece of the
evening, "Higher Ground," featured the music of Earth, Wind, and
Fire. The musical selection proved to be popular with the audience,
some members singing while the dance went on onstage. The choreography
held no surprises and was unrelentingly fast paced-interjections
of contrasting dynamics and tempos were desperately needed. Much
of the movement appeared to be interchangeable with the movement
viewed in the opening work, "Red." Both pieces even used the same
raised metal set -- placed at the back of the stage, the platform
at the center of the set allowed one or two performers to dance
at an elevated level, but because this movement often mirrored that
taking place below, the effect was neutralized. Despite the unoriginal
choreography, the company danced with abandon and enough energy
to electrify the audience. If Dwight Rhoden would explore new vocabulary
and tempos, or if other choreographers' works were to be added to
the repertory, the superbly talented dancers of Complexions would
be better utilized. As is, the evening's program left no vivid or
lasting images. Also on the program were "Weigan Leid," "Please,
Please, Please," and a duet for two male dancers, information on
which was not provided.
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