Celebrating
University Dance
National
College Choreography Initiative
Millennium Stage, The Kennedy Center
Washington, DC
Tuesday, June 1, 2004
by Kathrine Sorley Walker
coyright © 2004 by Kathrine Sorley Walker
published June 8, 2004
Nothing quite like the National College Choreography Initiative's performances
exists in the UK. Although the vocational dance schools there annually
take the stage (usually in July), there is no central body to dispense
grants to them; while the few organisations in our small territory who
are empowered to give university degrees in dance do not stage public
performances.
It was a new experience for me, therefore, to watch the opening event
of the Initiative's Celebration of College and University Dance at Kennedy
Center on June 1. I was immediately impressed to find that the contributions
from colleges featured that evening were interestingly varied choreographically—José
Límon, Merce Cunningham, Murray Louis and Bob Fosse. In each case
it was good to see how enthusiastically and energetically the students
tackled the diversified challenges. Also, they were all agreeably aware
that choreography is a theatre art intended for display to an audience—
and the Kennedy Center audience was large and appreciative.
For me, the high point of the programme was the Purchase College, SUNY,
production of Cunningham's elegant and inventive Septet (1953)
to Satie's Trois morceaux en forme de poire, mounted by Carol
Teitelbaum and Larry Clark. Three couples handled it with rewarding control,
sensitivity and musicality.
The Virginia Commonwealth University had been rehearsed by Clay Taliaferro
in a suite from Limon's 1964 A Choreographic Offering, and the
dancers were very happy with the free-flowing , rhythmic and often repetitive
body and limb movements. The best section of Murray Louis' all-female
Bach Suite, Ohio University' s choice, came in an engagingly
lighthearted duet for two of the women.
The University of Nebraska-Lincoln had only one brave man in the large
and tremendously vigorous group that delivered three Bob Fosse arrangements
for famous musicals, staged by Bill Hastings. These represented a special
course in musical theatre choreography undertaken there this year. I may
well be alone in finding little pleasure in seeing a flock of young women
dressed in men's suits and handling boaters or bowlers, but praise is
certainly due to the verve and commitment with which they put over old
hard-hitting numbers from Sweet Charity, The Pajama Game and
Dancin'.
Originally
published:
www.danceviewtimes.com
Volume 1, Number 21
June 8, 2004
©2004
Kathrine Sorley Walker
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