RSS 2.0 FeedMarch 10, 2010, Dance
Edgy performance falls well inside the box
The Foundation, known for its unique art gallery and architectural exhibits, hosted the Wylliams/Henry Contemporary Dance Company's winter program last Friday night. The unconventional venue and alternative works were a move in a different direction for this local Company.
The Foundation, known for its unique art gallery and architectural exhibits, hosted the Wylliams/Henry Contemporary Dance Company's winter program last Friday night. The unconventional venue and alternative works were a move in a different direction for this local Company. Unfortunately, that move did not pay off. Rather than achieving the edgy, innovative quality they aimed for, the show was choppy, undeveloped and vapid.
Although falling short of their edgy attempt, the dancers were not fully responsible. Had they been given challenging and inspiring choreography there is a good chance they could have excelled. In fact, the highlight of the night was the pre-performance display of fluid, effortless control and simplistic beauty. Performers Eric Sobbe and Michael Tomlinson displayed their flexibility moving along a double-sided ladder and successfully creating live, experimental art.
Veteran dancer DeeAnna Hiett paired up with newer artist Gavin Stewart in two slow, sensual pas de deuxs. Unfortunately, the couple failed to connect with each other, and Stewart's lack of coordination and experience held Hiett back from her usual impressive interpretations. They settled into their second duet (Eden) better and had Stewart provided the relaxation and confidence necessary to the empowering, expressive movement, the piece would have been beautiful.
Mary Pat Henry's tribute to the historic, comedic pair Butterbeans and Susie provided much needed humor and light-heartedness to the evening. Christopher Barksdale and Christina Burton showed off their personalities and strutted their stuff to the tune of "I Want a Hotdog for My Roll." The only bad thing about this work is that it wasn't long enough. This piece could be a fantastic addition to the Company's normal lineup and could really excel on a larger stage with better sound quality.
2126 in a Series, Susan Warden's ironic and very audible interpretation of the iconic Harlequin Romance novel produced a few laughs from audience members - mainly because they were uncomfortable rather than amused. The three women favorably gave a unified, energetic and well-rehearsed performance, but the cheesy dialogue made it difficult to pay attention to the dancing.
The longest piece of the program, Puppet Gamelan, was excruciating to watch - disturbing and altogether confusing. In the same manner, No Place, Good Place and Tumescence featured choreography that was overindulgent and uninspiring.
Though ending on an upbeat, the Company's outside-of-the-box attempt left much to be desired. No one grows and improves without taking risks - and risks are not always successful right away. Wylliams/Henry should keep taking the risks, but in this case, they should make improvements to this program to make it successful. Better use of the dancers' diverse talent' and more interesting and relatable choreography will help move it in the right direction.
Wylliams/Henry Contemporary Dance Company
On The Edge
Friday, March 5, 2010
The Foundation, West Bottoms
1221 Union Avenue, Kansas City, MO
http://wylliams-henry.org/
Top photo: Puppet Gamelan with dancers Mike Tomlinson and Kelanie Murphy. Photo by MIke Strong.
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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