Courtesy of David Kipler/WUSTL Photo ServicesMy dream last night consisted of dancing, murderous nuns, frolicking deceitful fairies and tribal jungle animals. I instantly knew the source of this bizarre vision-this year’s Dance Theatre production: BODYmind: The Art of Movement. Featuring seven pieces choreographed by various instructors, Dance Theatre 2006 was an amazing combination of stories and universal messages that were transformed into unbelievable dance routines. Many pieces highlighted the power of the woman, such as “Women’s Voices,” “Hallowed Be Thy Name” and “Belladonna Divertimento.”
“Women’s Voices,” choreographed by Christine Knoblauch-O’Neal, translated some of the world’s most influential women’s words into the language of ballet. As a non-dancer, I was amazed by the intricacy and complexity of each movement. Although it was difficult to follow everyone’s individual routines at once, the unity presented on stage communicated the idea that each woman’s voice is distinct, and when combined, can be incredibly powerful. “One Among Many,” a modern piece choreographed by Mary Jean Cowell and the dancers, also emphasized the importance of the individual. The dancers began as a tight-knit crowd with soloists breaking off periodically. As a more contemporary view of individualism, “One Among Many” incorporated more free and released movements that kept my attention throughout. Choreographer Asha Prem directed the piece “Thillana.” The bells on the dancers’ ankles echoed in time with the music, and the fast paced footwork was a mesmerizing spectacle.
“Hallowed Be Thy Name,” choreographed by David Curwen, featured ballet dancers dressed as members of an anonymous religion. According to a performer, the piece is a discussion of female terrorism, and how the danger can be anywhere. This idea was vividly depicted when the dancers proceeded to “crack” each other’s necks and stab one of their own in the back (literally)! Once again, the dancing was beautiful; at one point, long poles were utilized. Although I could not determine why they were used, the way they were incorporated was incredible to watch. “Steps in the Street,” choreographed by the late Martha Graham and restaged by Bonnie Oda Homsey and Gary Galbraith, was perhaps the most unusual piece in the production. The piece was originally staged in 1936, and it incorporates the unique movements of the Graham technique. While watching it, I realized that the dancers’ facial expressions contributed to the energy as much as the movements. The two elements combined effectively evoked emotions of fear and devastation, mirroring the results of war.
“Belladonna Divertimento,” choreographed by David Marchant, was my favorite storyline of the production. It begins in a forest with a group of girls staring off into the distance, leading me to wonder at what they could be gazing. My question is answered with the entrance of.a man! Later on in the piece, it becomes apparent that the girls are not really girls, but flowers-specifically, Atropa Belladonna, a flower that has poisonous leaves and berries. Unfortunately for the man, the girls’ ill effects are carried out, and he is carted off the stage. The piece ends as it began: the girls hear a noise in the distance.
Finally, “Psychopomp” was choreographed by Cecil Slaughter and featured tribal-like modern dance moves that transferred all the energy and power from the stage to the audience. Although it was a little long, “Psychopomp” is as entertaining as the title suggests. All the pieces in Dance Theatre 2006 presented the different facets of dance-the complexity, intricacy, grace, power, energy and passion-and magnificently illustrated the art of movement.