This yearís ìStage Door” fall dance concert is doubtlessly one of the most compelling showcases of student work to be presented this semester. The intimacy of dance ìin the round,” wherein the audience is seated on all sides of the performance space, immerses the audience fully in each piece, and even under such intense scrutiny (or perhaps because of it), the concert succeeds wildly.
Each of the 10 pieces was created by a different student choreographer (all of them under the direction of Kim Tritt, professor of theatre and dance), and the breadth of these assembled creations is one of the great joys of ìStage Door.” The sequencing highlights profound contrasts in mood, rhythm and form in such a way that each successive piece is its own revelation ó not a single one of them feels stale or derivative.
The first set, for instance, takes leaps of nearly bipolar extremes in three successive standout numbers. The instantly grabbing ìManiacal Somnolence,” choreographed by Kathleen Metcalfe í10, unfolds at a frenetic pace that reinforces its sense of mischief and surprise. Itís followed by ìFull Circle,” by Ellie Lawrence í11, which is a beautifully focused piece that plays out like a celebration of sisterhood, and one that knows the compositional value of blank space. This gives way to the starkly dramatic ìInterference,” choreographed by Cathy Trainor í11. Taking its cues from traditional ballet, ìInterference” is as tense and fretful as the Prokofiev music to which itís set. The cumulative effect of these contrasts is disorienting in the best sense of the word ó there are no safe assumptions about what any dance will hold.
One of the most distinctive aspects of this yearís ìStage Door,” however, is also the glue that holds these disparate numbers together as a concerted whole. In the way ìStage Door” has long spotlighted a broad range of student talent, composition major Paul Winchester í11 is featured as prominently as anyone during the performance, creating free-form piano improvisations between each dance number. This serves not only a practical purpose, giving time to set up the next piece, but adds a crucial sense of continuity and reflection as Paul draws on the musical themes that accompanied the previous dance.
In addition to his improvisations, Paul also performs an original composition for the delicately nightmarish ìWoven,” choreographed by Kaitlin Yankello í11, perhaps the strongest overall achievement on the program. The music, in perfect tandem with Yankelloís wonderfully restrained choreography, builds to a breathtaking climax followed by a chilling coda. Quite simply, ìWoven” is superb.
Equally noteworthy is the aptly titled ìAnimation Play,” choreographed by Victoria Early í10, which unfolds in the lobby during intermission. ìAnimation Play” boasts taut, theatrical performances from each of the three dancers that emphasize the pieceís cartoonish humor. Itís a very entertaining play on the dancing space itself and a suitably lighthearted divider between the two longer sets.
Each half of the program ends in similar territory, with a large-scale number that reminiscent of contemporary Broadway. The pieces ìWrite Me a Tragedy,” by Brandelle Knights í12, and ìNot Juliet,” by Maria Puglisi í10, might be faulted for lacking the focused intensity or subtlety of the most memorable dances, but their placement effectively lends a sense of unity and balance to the concert. These are also ample reminders that there really is something for all tastes at ìStage Door.” As an exhibit for student music, lighting design and dance, ìStage Door” is highly recommended.
The ìStage Door” fall dance concert will be presented today and tomorrow at 8:15 p.m. in Freedlander Theatre. Tickets are free, but should be reserved at the box office as seating is limited. Box-office hours are 12- 2 p.m. and 4-6 p.m. Monday through Friday and 12-2 p.m. on Saturday. All reserved tickets must be picked up from the box office no less than 30 minutes prior to performance.