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| Class with Elizabeth Streb at ACA |
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Ellie Barrett is an internationally known dancer, teacher and choreographer.
She has taught for over thirty years and has seen many of her students join nationally known dance companies as well as dance
in Broadway shows.
She teaches for DANCE OLYMPUS/DANCE AMERICA, which sends her
to many major cities to teach modern dance in the United States. Many of these cities do not offer modern and she finds it
extremely exciting to be able to teach modern dance to a new audience that always seems to embrace their new dance form.
She has taught for FLORIDA DANCE MASTERS, FLORIDA DANCE ASSOCIATION,
CHICAGO NATIONAL ASSOCIATION OF DANCE MASTERS,as well as the WALT DISNEY WORLD Arts Program,ROLLINS COLLEGE, VALENCIA COMMUNITY
COLLEGE, AND DOUGLAS ANDERSON SCHOOL OF THE ARTS, VIRGINIA SCHOOL OF THE ARTS,and the HIGH SCHOOL NATIONAL DANCE FESTIVAL.
She danced with Ina Hahn and Beth Soll during
her Boston years. She also worked with Merce Cunningham, Meg Harper and Elizabeth Streb as an Associate Artist at The Atlantic
Center for the Arts.
Ellie is an active member of ACTORS EQUITY ASSOCIATION, FLORIDA
DANCE MASTERS and the FLORIDA DANCE ASSOCIATION. She is currently on the Board of Directors for ACE/FAAE - Arts for a Complete
Education.
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BARRETTWERKS - A MODERN DANCE CONCERT
Johnny Holloway Theatre
Harwood - Watson Dance Studios
Orlando, Florida
THANK YOU EVERYONE!!!!
THREE SOLD OUT SHOWS...
THREE STANDING O'S!!!!
FABULOUS!!!!!!!!!!!!!!!!!!!!!!
Dancers:
BARRETTWERKS
Luis Abella
Derrick Smith
Angela Gewinner
Kara Hill
Krysten Hill
Sara Bailey
Eliza Harwood - Watson - guest artist
Natalie Miller
Mary Evelyn Freeman
with
VERY SPECIAL GUEST - CHERYL MANN
Hubbard Street Dance Chicago!!!!!!!!!!!!!!!
and Dean Johnson in his column in the Orlando Sentinel says on May 2...
Barrettwerks and Voci Dance collaborated on a first-rate modern dance concert last weekend. It was great seeing Ellie
Potts Barrett, Kip and Eliza Watson and the others; I don't know Cheryl Mann and Mila Makarova, but I'm always fascinated
by their graceful dancing.
BARRETTWERKS REVIEW FROM INK!!! Barrettwerks & Voci Dance April 29th, 2008 by carl-gauze
Barrettwerks & Voci Dance Choreography by Ellie Potts Barrett Johnny Holloway Theatre, Orlando, Fl
So often, the coolest stuff happens in the spaces with the worst seats. The Johnny Holloway Theater lurks in an unexpected
industrial area off East 50, and features carpet-covered bleachers for the Extreme Dance Enthusiast. The more comfort oriented
can grab a Wal-Mart lawn chair and sit off to one side with a good view of the wings. It's worth the inconvenience as tonight's
show features the choreography of St Augustine based dance legend Ellie Potts Barrett, and the virtuoso Voci dancers.
We open with "Sonata Cantata," featuring the entire company of over a dozen dancers. The music is one of J.S. Bach's greatest
hits, and while we regard him as a WMFE long hair, the dancers were clapping and dancing, tying today's pop sensibilities
to the same genera of 4 centuries ago. Voci stalwart Mila Makarova next appears for "Interlude", a simple, alluring performance
set over a dark and moody Jazz arrangement from Simon Henneman. "And Yet another Tango" introduces a pair of dancing couples,
improvising on the classic tango moves with a bit of vinegar, then joining up for a clever foursome united in one dance formation.
Genevieve Bernard interjects a piece I've seen before, but still find enjoyable - the video age "Monitor." Constantly regenerating
arrays of dancers play video games over a Space-age sound track. Their thumbs never stop moving, their bloodshot eyes never
lose focus, and the defeat of entire star systems are summarized with half of a high 5, followed by another epic pixel battle.
The enigmatic "Two For Tutu" wraps up the first half of the show with a soft parody of "Swan Lake". I think I see a swan
dying up there, but it might just be some loose Sugar Plum Fairies. The images are iconic, and by pushing the edges of the
moves and costumes of Tchaikovsky, we tie modern dance to the classics, just as in the Sonata Cantata does with the pop hit.
The highlight of the second half, "For Opal", is based on a true story of a young woman who went insane and spent most
of her life in an institution. Here Barrett dances us thought the journey from a relatively carefree youth into the horrors
of state institutions and the loss of freedom of will and actions. It's a difficult piece, at least for the audience, but
shows that dance can depart the completely abstract and portray the real world without reducing itself to mime.
While the dancing was superb, the transitions from piece to piece felt over long, and with the packed house tending to
chat amongst themselves, that production flaw lessened the impact of the evening. Nevertheless, the Holloway is an excellent
dance space, and sometimes it's good to suffer for the art you care about.
and from a fan...................................
I very much enjoyed the program and I'm thrilled to hear
you had three sell-outs! I think the show was a rich statement of the variety and breadth of your work. I particularly
liked Sonata Cantata, Two for Tutu and And Yet, Another Tango. Sonata appeals to my formalist side, it is so structured
and musical -- and of course you know I love Bach. It was just refreshing to watch. I think Tutu and Tango show you
at your witty best; both give a little wink to the audience and let us in on the fun, but without going overboard and becoming
corny or cloying. Tutu makes the most of Eliza's gifts, and the costumes really work with the dancing. It's cute and
spiffy. Tango is really fun and, again, kind of wisely witty
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An article in the Sentinel pre-concert....
Turning a tragedy into movement
Ellie Potts Barrett obsesses on one woman's story, then creates a dramatic dance.
Diane Hubbard Burns | Sentinel dance
critic
- April 24, 2008
It isn't often that a choreographer finds inspiration in an obituary. But it was the account of a Texas death that launched
Ellie Potts Barrett on her latest creative quest.
The subject of the obit, which is recounted in Mindy Aloff's book
Dance Anecdotes, was Opal Petty, committed at age 16 to a Texas state mental facility for "having flouted her family of rigorously
devoted Baptists by going out dancing." She remained confined for 51 years, until cousins brought a lawsuit in the 1980s that
eventually freed her and helped change the way Texas handles such cases.
The story struck Barrett -- here was a woman
incarcerated for more than half of her life for wanting to dance -- and became a kind of obsession. "I'd wake up at 3 a.m.
with visions" for the choreography.
She began working with Orlando dancer Eliza Harwood-Watson on a 12-minute dramatic
dance but ended up incorporating four additional dancers to portray the shattered pieces of Opal's personality. The dance
debuts this weekend on Barrettwerks, a program showcasing Barrett's work.
Opal "was such a personal challenge for me,"
says Barrett, 56, who last week received the second annual Central Florida Dance Award presented by the University of Central Florida Conservatory Theater. "You can go over the top and be stupid. I wanted to give her dignity and integrity."
But it
won't be all seriousness on the program at the intimate Johnny Holloway Theatre in the Harwood-Watson Dance Studio. Opal is
balanced by lighter fare -- Barrett's Cantata Sonata, Yet Another Tango and Two for Tutu -- all new works developed for 15
dancers hailing from Central Florida, North Florida and Georgia.
Also on the program, Orlando's Voci Dance will perform
two works previously commissioned from Barrett and two by company members. Cheryl Mann, a former student of Barrett's and
until recently a dancer with Hubbard Street Dance Chicago, will perform a solo by Hubbard Street choreographer Lucas Crandall.
Barrett,
who grew up in Central Florida, divides her time these days between Central and North Florida. She lives in St. Augustine
with husband Ken Barrett, a photographer, and is on the faculty of Flagler College in St. Augustine and the Douglas Anderson
School of the Arts in Jacksonville. She returns to teach weekly at the School of Performing Arts in Fern Park.
She
also divvies up her time between "artsy" modern dance and commercial and musical theater -- a fitting split for someone who
studied modern dance at the Boston Conservatory of Music in the 1970s, but left to play Mary Magdalene in the first national
tour of Jesus Christ, Superstar. (She later finished her dance degree at the University of South Florida.)
She co-founded Central Florida's first modern dance troupe in the 1980s, created dance sequences for Disney World and SeaWorld, and choreographed productions of Grease, Urinetown and Rent in Seoul, South Korea. Her first feature-film choreography credit
was for the 2006 John Travolta-Salma Hayek movie Lonely Hearts, filmed in the St. Augustine area.
In her quest to flesh out Opal's story, Barrett sought out
the cousins -- Linda and Clint Kauffman -- who helped free her, and spoke with Linda just weeks before her dance was to premiere.
As
a result of Barrett's contact with the cousins and the Texas Civil Rights Project, which supported the lawsuit to free Opal,
she said the dancers have been invited to present Opal at the Project's Bill of Rights dinner next fall.
"I told Linda,
'You are both heroes.' She said she didn't think of themselves as such."
Diane Hubbard Burns can be reached at dburns@orlandosentinel.com
or 407-420-5459.
Thanks, Diane!!!! GREAT ARTICLE!
BARRETTWERKS and VOCI DANCE: Inspiration through example
- By Emmial Fields
- Published 04/21/2008
-
Emmial Fields
I am a 32 year old entertainer (dance, instrumental music, vocal music, and some acting), who resides in the Central Florida
area. Dance: ballet, jazz, modern Instruments: flute, clarinet, alto saxophone, and baritone saxophones. Vocal Music: classical,
jazz, theater, spiritual, and down-tempo electronic (chill out). Writing became the first form of expression, for me, and
those who did not know how to have their thoughts and voices carry out into the Universe in a positive way. View all articles by Emmial Fields
BARRETTWERKS and VOCI DANCE: Inspiration through example
By Emmial C. Fields BARRETTWERKS and VOCI DANCE IN CONCERT unites star quality and energy
together on the Johnny Holloway Theater's stage in Orlando, Florida for three performances: April 25 & 26, 2008
(8PM performances) and April 27, 2008 (2PM performance).

This collaborative showing of Dance Artists, is one that will have its audiences talking long after leaving the theater.
Each dancer and choreographer performing in this collective show, are colorful threads of the dynamic Ellie Potts-Barrett
tapestry and influence. Humbly, Ellie says that she wanted to bring this group of friends and loved ones together, due to
the loss of some special people in her life. She jokingly adds, " and to see my work on stage."

In observing and speaking with the dancers, creative individuals in their own rite, reflections of this Matriarchal Icon
can be seen and felt on and off the stage. The mutual respect and support the dancers share, shines in each piece striking
a variety of emotions; from whimsical to soul-deep. Mrs. Barrett's positive influence is even evident in the works and dancers
of Voci Dance. Ellie shares, "there have not been a lot of opportunities for us all to meet at one time."

She adds, "sometimes there might be weeks between rehearsals," though it is quite evident that professionalism and lack
of ego goes the distance to bring such talent from a variety of locations in the U.S.
This family unit allowed for all of its members to add their input to the conversational images on stage (as it should).
12 Dancers begin their introduction with the bright Bach accompaniment. "Tango" continues to work corners of the mouth upwardly
with it's light-hearted movement and spirit.
Opal chimes in, through Eliza Harwood Watson, with such clarity in "For Opal." Her story (inspired by actual events), shows
a woman who slipped through life's cracks as a result of archaic thought and lack of understanding.
As if to return levity to the conversation, Eliza and cast, inspires a giggle or two in "Two for Tutu." "Interlude" allows
Mila Makarova to bring her intensity and perfection to the table and holds your attention in the palm of her hand for the
duration.
Mary Clymene B. Wilkens brings forth feelings from the Mother Land with Voci Dance, in "Ritual." The Voci dancers creatively
escort you into the video game world with Genevieve Bernard's "Monitor." The ladies of "Storm" sweep you up into an exciting
frenzy with lifts and movement that is lightly staccato, but is smooth going down.
Also is the choreography of Lucas Crandall from Hubbard Street Dance Chicago, wrapped around the form or Cheryl Mann (formerly
of Hubbard Street Dance Chicago).
Such artistic contributions should not be missed, especially if you've wondered what else Central Florida has to offer.
Check out BARRETTWERKS and VOCI DANCE IN CONCERT and be amazed by the depth of talent in your backyard.
| BARRETTWERKS IS……………. |
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Ellie Potts Barrett (Choreographer/Director of BARRETTWERKS/Artistic Advisor
for Voci Dance) Trained at Boston Conservatory and graduated with a B.A. in Dance from the University of South Florida. She
is a highly sought after dancer/ teacher/ choreographer by National Dance Organizations, Professional Theatre Companies and
Universities. Ellie danced with the Ina Hahn Modern dance Company, Boston Dance Company and Mary Anthony in New York, and
has been an associate at the Atlantic Center for the Arts to Master Artists Merce Cunningham, Meg Harper and Elizabeth Streb.
She teaches at Douglas Anderson School of the Arts in Jacksonville, the School of Performing Arts in Orlando, the Dance Company
in St.Augustine and Dance Olympus/Dance America Ellie is thrilled to be producing BARRETTWERKS and thanks you all for coming
to the party! |
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| Luis Abella (Dancer) has performed all over the world as a Principal Dancer and
a soloist with many renowned ballet companies including the National Ballet of Cuba, Company of Mexico, Bellas Artes National,
and Minnesota Ballet. His formal dance training was completed at the National School of the Ballet of Havana, Cuba. Mr. Abella
has studied with numerous international teachers including Alberto Alonso and Laura Alonso (National Ballet of Cuba), Asara
Prizesqui (Bolshoi Ballet in Moscow), Ramona Dezat (Kirov Ballet in St. Petersburg), and Robert Gardner at School of American
Ballet in New York. Luis resides in St. Augustine, Florida and is currently an artist in residence at Florida School of the
Arts, as well as teaching at several studios in the area. |
Sara Bailey (Dancer) began dancing at age five and at the age of ten began studies under
the direction of Monika Macbeth, Carole Dickens and Marcellus Brown. She continued under the direction of Ellie Potts Barrett
and was accepted to Douglas Anderson School of the Arts as a high school dance major studying under Rhonda Stampalia and Dr.
Phyllis Penney. She graduated from Douglas Anderson in 1998. Sara has attended many prestigious summer dance programs such
as Jacobs Pillow and The Dance Theatre of Harlem. She was accepted and attended SUNY, Purchase, and New York as a dance major.
Upon returning to St. Augustine in 1999, she began teaching for The Dance Company while attending Flagler College. Sara graduated
from Flagler College in 2002 with an Accounting degree and Business minor. Sara recently accepted the Director position at
The Dance Company. |
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| Mary Evelyn Freeman (Dancer) I would like to give thanks to God, my family, and friends for always
encouraging and supporting me. After stopping dance 14 years ago due to dance-related injuries, I was delighted to find out
'The' Ellie Potts Barrett was still teaching modern in Central FL. After stalking the studio I eventually relented and took
an 'adult' modern class. The romance was immediately rekindled with dance. My resume-Hmm? Let's just say, I feel honored to
be a part of the show. I studied under the wise and creative direction of Ellie and the late Ari Bloustein. I then studied
in Chicago at Lou Conte Dance Studio before hanging up the shoes. Today I practice locally as a therapist. I would like to
give a special thanks to Ellie, for giving me one more dip in the rosin box. It's been a complete delight!!!! And as for my
peers…aren't they fabulous?!!! |
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| Eliza Harwood-Watson (guest artist) is a seasoned professional dancer, teacher, and choreographer.
Broad-based background including classical and modern dance with leading dance companies in the southeast. A gifted communicator
with an understanding and background in teaching and performing, as well as human resources. She has danced with Southern
Ballet Theater(Orlando Ballet), Tampa Ballet, Florida Ballet at Jacksonville, Atlanta Ballet Apprentice Dancer, Louisville
Ballet, The Happenstance Dance Series, Mary Luft Tigertail Productions. Her teaching includes Southern Ballet Theatre, Artist
in Education program, The Nutcracker project in Jacksonville Florida, Louisville Ballet Apprentice program First Coast Nutcracker,
New School of Orlando, Dance Masters of Florida, Central Florida Dance Festival, Florida Dance Festival, ames Dance Center
and The Osceola Performing Arts School. Guest teacher for Dance Olympus/Dance America in Houston Texas and Omaha Nebraska. |
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| Kara Hill (Dancer) Kara is a third generation dancer from Orlando, FL. She currently is a member of
the Georgia Ballet. She has danced with Southern Ballet Theatre and the Dayton Ballet. Kara graduated magna cum laude from
the University of Cincinnati-College Conservatory of Music. During her eight seasons with the Georgia Ballet she has performed:
Big Swans in Swan Lake, Dark Angel in Balanchine's Serenade, Concerto Barocco, Yes Virginia... Another Piano Ballet, Janusz
Mazon's American Dreamer and Lloyd Whitmore's Andante Cantabile. In addition to performing, Kara is a full time faculty member
with the Georgia Ballet School. She travels with the Dance Olympus/Dance America organization and has taught for the Georgia
Governors Honors Program. She is honored to be back in Orlando performing under the direction of Ellie Potts Barrett. |
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| Krysten Hill (Dancer) Originally from Orlando, FL, Krysten is a graduate from the University of Cincinnati
- College Conservatory of Music. Ms. Hill has currently completed her 4th season with The Georgia Ballet where she has performed
in The Sleeping Beauty, Coppelia, Balanchine's Serenade and Concerto Barocco, and Janusz Mazon's Firebird. Krysten has also
performed soloist roles in Giselle, Swan Lake and Paul Taylor's Esplanade`. Aside from performing, she teaches for The Georgia
Ballet School, Sugarloaf Performing Arts and nationally recognized Dance Olympus Dance America. Recently, Krysten has been
appointed Director of Dance for Georgia's Governors Honors Program. |
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Natalie Miller (Dancer) Natalie Miller began training as a dancer in ballet, tap, modern
and jazz in Shreveport, Louisiana and was a founding member of the Louisiana Dance Theatre. She performed at the Jazz Dance
World Congress in Chicago, Illinois in 1992 and participated in a television documentary for a "Dancers for Peace Exchange"
in the former Soviet Union. Natalie has over nine years experience in yoga instruction and holds certifications from The Aerobics
and Fitness Association of America and The Pilates Institute of America. For the past six years, she has received modern dance
instruction under Ellie Potts Barrett. Natalie is a Speech Language Pathologist with Orange County Public Schools and teaches
Yoga and Pilates at the YMCA and Core Body Designs. She holds a Bachelor's Degree in Communication Disorders from Florida
State University and a Master's Degree in the same field from the University of Central FloridaEliza Harwood-Watson (guest
artist) |
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| Derrick Smith (Dancer) was born in 1985 in Tuscaloosa, Alabama. He moved to Georgia as a young
boy, with dreams of becoming an actor. However, after graduating from the DeKalb School of the Performing Arts high school,
Derrick's life took a turn and dance became a more passionate art form to him than acting. Immediately after graduating high
school, Derrick received a Presidential Scholarship to the Florida School of the Arts College where he majored in dance. There
he completed both is Associate in Arts and Associate in Science degrees. He then signed a contract to perform professionally
with Celebrity Cruise (Royal Caribbean) as a production dancer. He is multi-talented and skilled in various dance styles.
Derrick is currently pursuing his Bachelor of Arts in dance at Brenau University in Gainesville, Ga. He has dreams of touring
the world with a contemporary company in the near future. |
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Cheryl Mann (guest artist) fulfilled her childhood dream of becoming a Hubbard Street dancer in 1997. She
has been fortunate in her career to travel and perform in 15 countries, Hawaii, Puerto Rico, and countless domestic cities
in the U.S. Ms. Mann retired after 10 1/2 years with the company in October 2007. She feels forever grateful to have had Mrs.
Ari, her late childhood teacher, introduce her to the many opportunities that dance can bring to a young girl who needed inspiration
and a goal in life. Along with her, Ellie was another great source of light and love. She is ecstatic to be here tonight and
share the stage with her childhood dance studio partner in crime, Mary Evelyn Freeman. Big kiss to my family, who will always
be around to support me in any project I take on next. For Mrs. Ari…we dance.
Ellie
Potts Barrett, `76, Receives 2nd Annual Central Florida Dance Award
Tuesday,
May 06, 2008
Ellie Potts Barrett, Dance `76, recently
received the 2nd Annual Central Florida Dance Award presented by the University of Central Florida Conservatory Theater. On
April 24, she debuted Barrettwerks, a program showcasing her diverse choreography, including 12-minute dramatic dance based
on the story of Opal Petty, a Texas woman who was committed to a mental institution for 51 years for dancing against the wishes
of her fundamentalist family. Also on the program were Cantata Sonata, Yet Another Tango and Two for Tutu. The performances
were held in the Johnny Holloway Theatre at the Harwood-Watson Dance Studio in Orlando.
Barrett, who grew up in Central Florida,
lives in St. Augustine with husband Ken Barrett, a photographer, and is also on the faculty of Flagler College in St. Augustine
and the Douglas Anderson School of the Arts in Jacksonville. She returns to teach weekly at the School of Performing Arts
in Fern Park.
She works in both modern dance and commercial
and musical theater -- a fitting split for someone who studied modern dance at the Boston Conservatory of Music in the 1970s,
but left to play Mary Magdalene in the first national tour of "Jesus Christ, Superstar." She later finished her dance degree
at the USF.
She co-founded Central Florida's first
modern dance troupe in the 1980s, created dance sequences for Disney World and SeaWorld, and choreographed productions of
"Grease," "Urinetown" and "Rent" in Seoul, South Korea. Her first feature-film choreography credit was for the 2006 John Travolta-Salma
Hayek movie "Lonely Hearts," filmed in the St. Augustine area.
In her quest to flesh out Opal's story,
Barrett sought out the cousins -- Linda and Clint Kauffman -- who helped free her, and spoke with Linda just weeks before
her dance was to premiere. Opal was since passed away. As a result of that contact and with the Texas Civil Rights Project,
which supported a lawsuit to free Opal, she said the dancers have been invited to present the dance piece at the Project's
Bill of Rights dinner next fall.
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OrlandoSentinel.com
Dance Review
Voci pulls off a little 3D miracle with 'A Collaborative Stand'
Diane Hubbard Burns
Sentinel Dance Critic
November 10, 2007
When was the last time you saw a world-premiere dance with a commissioned score and artist-created set in Central Florida?
Right -- me neither.
Yet the spunky Orlando modern dance troupe Voci has pulled off this little 3D miracle in, of all
places, Osceola County. What's more, it's a seamless, hour-long work notable for its liberated yet disciplined exploration
of movement and the quality of its performances, both visual and aural. Make that a 4D miracle, for the unnamed lighting designer
who washes the stage with brilliant hues and speckles it with spotlights is certainly part of the act.
Most of composer
Simon Henneman's music is taped, but one rousing dance scene, "Ritual," brings musicians and percussionists to a side stage
of the Osceola Center for the Arts' welcoming small theater. And artist Rick Jones' minimalist, architectural construct of
doorways or skyline or goal posts (depending on how you look at it and what dancers are doing at the time) makes an understated
but effective setting -- even if a piece of it took its own bow by falling on a dancer during Friday's curtain call.
Those
of us reared on modern dance-makers such as Martha Graham and Merce Cunningham, who advanced the notion of a "complete" art
involving choreographer, artist and composer equally, can celebrate a return to that concept locally and with contemporary
flair. Those who could care less about the conceptual underpinnings will find an entertaining, avant-garde performance, nonetheless.
Four
choreographers worked on "A Collaborative Stand," setting dance "scenes" in varied but compatible styles. In Genevieve Bernard's
introductory "Span," dancers cross and recross the stage with accelerating paces to the sound of street noises, then push
one harried dancer to the ground (scapegoat?) and eventually circle her. Jones' set suggests an urban streetscape.
Christin
Carlow's "Contest," begins with dancers lunging at an imaginary starting line, taking off in racelike competition, engaging
in push-pull partnering and assembling in a stylized huddle. The set morphs into goal posts and stadium silhouettes.
Mary
Clymene Wilkins' "Ritual" -- wow! -- has not only the extra oomph of live music but an artful amalgamation of ethnic African
dance images and rhythms with smooth modern movement. Clymene Wilkins leads it with a combination of birdlike quickness and
catlike elasticity.
In Ellie Potts Barrett's "Interlude," Mila Makarova, her arms circled in silver lame, exhibits
the power of a dancer as still point. She crosses slowly, tranquilly, and unfolds center stage into a geometrically perfect
arabesque, circles back on herself and again strikes that awe-inspiring pose, promenades it, catching a violet spotlight against
the red-lit background. The music is slow, lazy-sultry jazz and the mood, complete self-possession.
"A Collaborative
Stand," the program tells us, is meant to be "an abstract look at games, communication and human history." Abstract seems
to be the key word here, as even the "Contest" section extrapolates sports into dancelike partnering. Bernard's "Monitor"
takes the most literal approach, with dancers, thumbs quivering, illustrating the addictive quality of video games in funny,
but overly long, mimetic terms.
That program description is interesting mostly for illumination of how this project
started, less so for an explanation of how it ended up. The dancing is well-structured and esthetically interesting on its
own terms. Does it achieve its conceptual intent? Maybe fleetingly. Does it make for compelling theater? For sure.
Diane
Hubbard Burns can be reached at dburns@orlandosentinel.com Copyright © 2007, Orlando Sentinel
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