Fall Dance Concert in Review


Last night was the first performance of the Fall Dance Concert. I was blown away by the diversity and energy of the show. The first piece of the concert was entitled “Coefficients of Friction” and it was choreographed by visiting choreographer Ellie Escosa Carter. The piece was a lovely start to the concert because it eased the audience into the dancer’s state of mind. I found the piece extremely athletic and animalistic in nature. 

The second piece of the show, “It all started with a” was choreographed by Colin McArthur ’15. I had very mixed feelings about this piece. It featured five dancers, four were dressed in tight black body suits that covered their entire bodies and their faces. The remaining girl was dressed in a simple white lace dress, which in contrast to the black body suits seemed to represent purity and virginity. The dancers entered the stage carrying the girl in the white dress on a table. The table was then made use of throughout the dance in a very fascinating way. While the individual dancers in this piece conveyed their incredible skill and strength throughout the piece, the narrative of the dance itself was troubling to me because it seemed to glorify a strange bondage scenario.

The next piece was choreographed by Eden Deering ’14 and titled “Victrola”. This piece featured four female dancers and original music by Ethan Primason ’14. I found Deering’s piece to be extremely emotional and riveting. The movements had an obsessive quality to them that felt very internal and powerful. Deering’s piece was followed by the dance “Lynchtown” originally choreographed by Charles Weidman and staged by Julie Brodie. This piece was incredibly powerful due to its historical commentary. All of the dancers in this piece seemed engaged and connected to the movements themselves.

After a brief intermission, Bailey John’s ’14 “walk with me” was performed. The piece was performed by three female dancers and it felt very intimate and urgent. I was unclear about the narrative behind the piece but still enjoyed the slow and sorrowful movements of the dancers. This piece was followed by “a medias,” choreographed by Sandro Aravena Perez ’14. This dance featured four male dancers and one female dancer, all wearing leopard print stilettos. The impact of the high heels paired with all black costumes was very dramatic and powerful. I was so overwhelmingly impressed by the dancers who were able to move so fluidly and daringly, while wearing such constricting shoes.

The next piece, “wait, Traveling daughters” was choreographed by Rebecca Varnell ’15. This piece started out very playful and rambunctious and then transitioned seamlessly into a more tense seriousness. The three female dancers engaged with a long piece of fabric. Their movements were very external and fierce, while their costumes were delicate and feminine. The final piece of the show was titled “Sing in Your Sleep” and it was choreographed by Kora Radella. One of the most powerful and formative aspects of the piece was the music, Kenyon graduate Michelle Birsky’s “Existence Anonymous.” The music was mesmerizing and awakening and the dancers brought it to life. All six dancers felt connected to one another. Every movement fell in line with the music, giving each movement a purpose and a narrative.

All in all, I thought the show was electrifying and stunning. The show will be performed again tonight (Friday) and tomorrow night (Saturday) at 8:00pm. Tickets are two dollars and can be reserved at the box office.

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