Word: dancersã
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...Emeralds,” staged by Heather Watts, featured the choreography of George Balanchine and solo performance of Amanda C. Lynch ’10. Lynch danced with remarkable poise, making full use of the stage as a flute and harp played in the background. The dancers?? dark green attire, provided by the Cincinnati Ballet, were reminiscent of childish Halloween costumes and left much to be desired. Still, the piece as a whole was pleasant to watch. Balanchine’s choreography made its second, less successful appearance of the evening in an excerpt from...
...Time Upon Once,” “Fractured” also began and ended with variations of the same image. The dance started without accompanying music as the entire cast of sophomore dancers faced the audience, stamping and thrusting their arms upwards. Although the dancers?? choreography and skill in “Fractured” were just as impressive and artistically striking as in “A Time Upon Once,” the tone of the piece made it more jarring and less enjoyable than the first. Andy Vores composed the music...
...Dresses),” was the greatest disappointment of the night. With thoughtful choreography by Diana L. Limbach ’05, many of the simple movements originated from minuet dancing, perhaps commenting on old-fashioned dance forms. However, this choice limited the complexity of the performance, and the dancers?? long, obtrusive skirts covered the few challenging steps they executed. Moreover, the sporadic use of a plastic folding chair as a prop looked awkward and arbitrary. Despite the beautifully illuminated, single-file exit of “Untitled,” this piece was on the whole dissatisfying...
...turn for the better. “A Little Happy, A Little Sad,” choreographed by Kenney, began and ended with visually gorgeous poses—black silhouettes against a bright blue background. The costuming choice was simple: elegant leotards that allowed the audience to see the dancers?? successes and mistakes alike, with no distraction from the outfits...
...Hawley ’10. The duo worked beautifully together, often moving exactly in sync, as if they both belonged to the same body. The choreography, set to the powerful vocal music of 17th-century German composer Heinrich Schutz, made excellent use of the space in between the dancers?? bodies. The ending sequence left a lasting impression as the two girls embraced, before pulling away from each other...