Dance Review: Dance, with imagination, chutzpa
LINDA BELANS, Correspondent
http://www.news-observer.com/daily/1998/07/25/home10.html
News and Observer
DURHAM -- If the audience attended "Celebrating Israel's 50th Anniversary"
at the American Dance Festival expecting to get a little closer to
Israel's roots and branches, they may have thought they were in the
wrong theater for most of the evening.
Brenda Angiel, whose dancers literally climbed the walls in a piece
that was pure optical illusion, hails from Argentina. Inbal Pinto's
"Frieda & Rosa" is reminiscent of a child's pop-up book with sound
-- but whose themes have no connection to Pinto's home state of Israel.
Barak Marshall's "The Wive's Tale," the third dance on Wednesday's
program, is full of Israeli flavor, yet it came from a choreographer
who immigrated to Israel from Los Angeles in 1994.
But this international trio represents the shape of a world where native-borns
are becoming a rare species. And Israel is certainly no different.
What the trio of choreographers offered us was an engaging evening
of ADF-commissioned premieres -- a glimpse of art that is shaped by
culture, imagination and pure chutzpa.
Angiel, who has spent three years in the United States and received
a grant from the National Endowment for the Arts, took Elizabeth Streb's
flashy wall climbing into a quieter, deeper plane of optical illusion
and lyricism in "South, Wall and After." The score, conceived by Angiel
and ADF musician Christian Cherry, added a sense of altered space and
time.The six dancers are suspended from the rafters by rigging strapped
around their waists. Their "floor" is the black back wall upon which
they stand, creating the illusion that we are watching this dance from
above. There is a cinematic quality to the work throughout the soft
duet, the seated dancers and the vigorous running side to side. The
overhead device is so effective that it's jarring to the senses when
a dancer enters from stage right on the normal plane. Relief comes
when he grabs onto one of the suspended dancers, joins the illusion
and reorients us.
The cinematic quality continued with Pinto's "Frieda & Rosa," but this
dance took us to a completely different universe where four larger-than-life
grotesque women schlepped in and out. Dressed in floor-length gray
paper dresses and walking in Teva shoes strapped to tall boxes, they
are a mixture of "Arsenic and Old Lace," MacBeth's witches and a nightmarish
vision of hunchbacked crones.
These characters both minister to and menace two "little girls," Elizabeth
Swallow and Summer Belnap, who engage in an intricate gestural and
clucking language. One sings a Hebrew nursery rhyme about a little
girl whose baked goods turn to coal. The work is immediate because
the action all takes place downstage in front of a gorgeous fabric
curtain designed by Pinto, who also designed the costumes. She's on
to something.
And so is Marshall, whose work echoes David Dorfman's athletic, luscious
movements interspersed with text. The music, traditional Romanian with
a splash of jazz, is by the Klezmatics.
The heart and soul of this work is Marshall's mother, the famed dancer,
singer and choreographer Margalit Oved, who acts as the chorus throughout.
Part oracle, part folklorist with a twinkle in her eye, she weaves
tales.
The 16 dancers, costumed in evocative contemporary funk and clunky
shoes by K. Meta, move exuberantly, as if driven by something both
urgent and wonderful. Plunging into deep knee bends and other exaggerated
folk dance motifs, they become moving candelabras.
Marshall, a Harvard graduate in social theory and philosophy, has been
making dances for about three years. His work is strong but not quite
woven the way his female ancestors wove their stories and lives.
The dancers in each of the three pieces were primarily ADF students
who learned the dances in three weeks. Mazel Tov to them. They looked
terrific.
---------------------------------------------------------------
This article is protected by copyright and should
not be printed or distributed for anything except
personal use.