Review: Nikolais' work spectacularly showcased
By Kathy Adams
Special to the Tribune
Salt Lake Tribune
Article Last Updated:09/27/2008 02:31:46 PM MDT
Whenever Ririe-Woodbury Dance Company presents dance-theater icon Alwin Nikolais' work, it scores a hit. Whether with European audiences in Paris, or Orange County, Calif., the enthusiasm is palpable. But never more so than when the dancers are back home in Salt Lake City.
Maybe it's the theatricality that gives this body of work such universal appeal, and these dances remain among the company's most popular. For good reason: Alwin Nikolais (1910-1993), with a career spanning 50 years, is the father of multimedia performance art, known for his affected perceptions of lighting, music, costuming and even the definition of abstraction.
"Crucible," the first piece in R-W's "Tower," offers a textbook example of Nikolais' choreographic style. Arms first appear on stage, brightly lit and moving in organic yet unnatural ways, seemingly disconnected from bodies. Nikolais wanted to take the focus off the dancers as individuals and place them in an environment that would create impressions and images.
Later in the dance, when full bodies are revealed, they function as screens for the spectacular lighting effects, and the dancers remain unidentifiable figures. Still, "Crucible" is hypnotic. It demonstrates Nikolais' love for the body in motion and gives audiences new perspectives on time and space.
"Tensile Involvement" redefines the space with huge elastic bands strung from the ceiling and across the stage. In this piece, the dancers are clearly visible in brightly colored unitards, exploring the effects of weight and energy on the elastic cords. Dancer Caine Keenan performed a solo, not as an abstract element but as a fully fleshed-out dancer. Keenan is a dancer who could be considered - to use a sports term - "coachable." Based on this performance, he probably cleans out his kitchen sink with gusto.
Although Nikolais broke from the Martha Graham-era tradition of storytelling through myths or history, his choreography always revolves around a central idea. "Liturgies" contains characters with specific parts and movement themes that convey a formalized structure. Dancer Jo Blake portrays a menacing Sorcerer who uncovers the frailties of humankind, while Erin Lehua Brown moves economically, giving clarity to the quickest of movements.
"Tower," a newly reconstructed piece, is more overtly theatrical in a wacky, wild, anything-goes mid-'60s kind of way. It's endearingly reminiscent of that optimistic time before the self-important postmodernists seized control of nonclassical dance. It's a work that causes the audience to laugh out loud during "Tower," as the dancers reveal their true personalities through onstage conversations and comments. This is the controlled energy of good entertainment.
Ririe-Woodbury's "Tower"
Family entertainment with substance. Take the kids and have something to discuss over midnight snack.
Where » Rose Wagner Performing Arts Center's Jeanne Wagner theater, 138 W. 300 South, Salt Lake City.
When » Wednesday dress rehearsal; 7:30 p.m. tonight and 2 and 7:30 p.m. Sept. 27.
Running time » 2 hours, including 15-minute intermission.
Tickets » $30; $15 students/seniors; 801-355-ARTS or www.arttix.org.
a temporary marriage to Cio-Cio-San, called Butterfly, who renounces religion and family in her adoration for him. When Pinkerton leaves for America, he promises to return “when the robins nest again.” Butterfly blissfully ignores warnings of his unfaithfulness and adamantly insists that her husband would never forget his son, “Trouble.” Pinkerton does come back, but Butterfly’s devotion and heart are shattered when she realizes he has not returned for her.
