If senior dance projects are the
ultimate test for graduating student
choreographers, then the dance-andchoreography
department should be
proud of their polished progeny.
For the first time, the Spring Senior
Project Dance Concert had to be divided
into a two-weekend affair because of the
size of the senior class. Six out of 10
seniors presented their final projects this
weekend at the Grace Street Theater-the
other four, Hannah Frisch, Samantha
Crawford, Katie Dean and Danielle King,
presented the weekend prior.
The results were stunning, with the
choreography nearly overshadowed by
the quality of the dancers selected for
the works themselves.
Though the pieces with larger ensembles
came off as more visually
stunning, the beauty of the concert shone
through in nearly every aspect, from the
subtleties of the lighting and music, to
the dramatic duets and solos.
Tony E. Colden Jr.’s “Configured
Time” was an octet of mostly upper-
classmen who danced to ambient
metronomic music by the esoteric John
Zorn, Jaga Jazzist and Motorpsycho.
The synchronization of music and
movement stood out in particular,
probably because of the added input
from the choreographer and Robbie
Kinter’s highly regarded sound engineering-
as the department’s music director,
Kinter’s fingerprints can be found on
nearly every work choreographed by
the department’s faculty and students.
The seniors in the cast added a layer of
experience that was no doubt a morale
booster for the younger members of the
ensemble. Tashara Gavin-Moorehead
– who also choreographed the last piece
of the evening – and Glen Lewis were
the focus of the climactic work, though
supporting dancers were incorporated
thoughtfully and were not overshadowed
by the duet.
Adrienne LaNee’ Moody’s “It’s Time
She Knows” was a colorful quartet of
freshmen set to very slow and soothing,
yet tense music. Margaret Allen, Anneke
Collins, Courtney Cook and Allison
Meyer interpreted Moody’s creative
structures wonderfully. Especially
striking was the trio that featured each
dancer performing individual motions
while revolving together. As the dancers
began to throw themselves to the ground,
the thuds of their impact made the piece
difficult to watch.
“preSSed” might have been the
most-perfectly synched work of modern
dance and music I’ve ever seen. With
choreography by Ami Dowden-Fant,
hardly a sporadic musical blip went
by without a dancer interpreting it in
some way. Dowden-Fant’s octet featured
a diverse, limber cast that paired well
with one another in every conceivable
combination. Transitions were seamless
as duos shifted from quartets to trios to
unison ensemble. The lighting was fantastic
and added to the diverse textures
that seemed to morph and erupt like a
violently bubbling cauldron.
Like Colden’s piece, Melaney Cash’s
“Guided Reflection” was focused on a
duet. Danielle King and Colden interacted
throughout the work, though the supporting
dancers – in this instance – took more
of a backseat role. Each dancer had specific
interaction with the duet, resulting in
variance in King’s and Colden’s movement
from then on. Cash’s poignant ending was
captured marvelously through abstract
industrial music and somber lighting as
a lone figure was left with nothing but
darkness to contemplate.
Alex Miegel’s “Ethereal Emissaries”
incorporated a prim, regal feel. A chandelier
hung from upper stage left while Miegel’s
sextet channeled his interpretation of the
supernatural through ornate, flowing costumes
or plain, ghostly garb and classical,
ballet-like movement. Ghosts and mortals
mingled beautifully in what was reminiscent
of a dreamy masquerade ball.
Gavin-Moorehead’s piece, “Spirit
Wrapped in Flesh,” was as sensuous as it
was spooky. It was impressive both because
of the size of the ensemble and because
of how convincingly and uniformly the
promise dancers phrased their movement. Minimal lighting and red-and-black
costumes cast a sassy tinge that paired well with the raw feminine attitude
of Gavin-Moorehead’s nine-member cast. The members’ technique was
particularly noteworthy, both throughout the solos and in the dozens
of combinations they
formed. Among the
cast, Danielle Currica,
Jaclyn Rea and Megan
Thompson stood out
for their remarkable
technique and expression.
The caliber of work
presented was no surprise.
Every year, the
senior class unleashes
the best ideas and a
culmination of experience
onto the audience
with fantastic results.
The upcoming fall
projects undoubtedly
will be no exception.
CT Photography Editor
Rachel Larue contributed
to this review.