Imagery And Music Melding Into Movement
By Sylviane Gold January 30, 2004
Good choreography can produce the impression that the dancers are moving
within the music, that it is somehow engulfing and propelling them. Donlin
Foreman's new work, "Song," gives concrete form to that idea:
As it ends, the singers of the New York Choral Society surge forward to
surround the six dancers of Buglisi/Foreman Dance, visually melding the
music and the movement in a churning, transcendent image.
Transcendent imagery is what Buglisi/Foreman is all about. Opening night
at the Joyce on Tuesday was replete with it. In the 10 years since it
was founded by four star Martha Graham dancers, Buglisi/Foreman has become
one of the city's most reliable dance treasures, returning every winter
with a satisfying mix of old and new.
The first of the company's two Joyce programs, which alternate through
Sunday, begins with a rambunctious, positively daffy entertainment. Jacqulyn
Buglisi's new "Pollen in the Air” is subtitled "A Romantic
Scene in the Park," but she's not serious - unless the park she means
has a dog run.
Big red balloons float above the stage and white ones roll around on it
as the playful dancers, in circuslike costumes, sniff, bite and nuzzle
each other to snippets of Beethoven, Schumann and Sibelius. Jennifer Emerson
and Walter Cinquinella, and Helen Hansen and Yarden Ronen, are the two
couples having frisky, puppyish fun. (Never mind that puppies couldn't
pull off the adorable position in which the girl is doubled over the boy's
shoulder, allowing them to spank each other.)
The three couples in "Song" are having fun, too. But it's the
fun of exploring Foreman's exuberant lifts and melting drops to the floor
to Lisa DeSpain's wordless, hymn like cantata. Foreman's idea of having
the dancers emerge from the chorus at the beginning and merge with it
at the end is rich with meaning and possibility...
The rest of the program includes Buglisi and Foreman (who are married)
dancing together in "Sospiri," her emotional duet to the music
of Edward Elgar. Terese Capucilli, Beatriz Rodriguez and Virginie Mécène
lead the aching choir of “Suspended Women,” Buglisi’s
stunning piece to Ravel. A “Mean Ole World” is a sexy, spirited
romp Foreman devised to DeSpain’s jazzy score.
BUGLISI/FOREMAN DANCE. Artistic directors, Jacqulyn Buglisi and Donlin
Foreman. Program A: Buglisi's "Pollen in the Air" (premiere),
music by Schumann, Sibelius and Beethoven; "Sospiri" (1989),
music by Elgar, and "Suspended Women," music by Ravel; Foreman's
"Song" (world premiere), music by Lisa DeSpain; and "Mean
Ole World," music by DeSpain. Seen Tuesday at the Joyce Theater,
Eighth Avenue and 19th Street, Manhattan. Playing in repertory with Program
B through Sunday.
DANCE REVIEW Copyright © 2004, Newsday, Inc.
Amid Complexity Excerpts
By Pia Catton
Monday, February 2, 2004
The term “artistic director” shows up on the roster of dance
companies all the time. But in certain cases, it means a little more than
in others. For Jacqulyn Buglisi and Donlin Foreman, co-artistic directors
of their 10-year-old company. Buglisi/Foreman Dance, the title is especially
Ms. Buglisi and Mr. Foreman, both former Martha Graham principals, produce
dance from a thoroughly expressive, artistic point of view. Watching their
works and the performances of their dancers engages more than the eye.
They engage your heart and soul – and psyche, too.
…Mr. Foreman’s new work “Song” brings the New
York Choral Society on stage; as the choir sings, three couples dance.
The work begins with the majority of the singers at the back of the stage,
though a few are sprinkled among the dancers…While one couple is
reaching up, another is crumpling over, another is lifting, another twisting.
All of this activity makes for a tableau of motion that has no real center
– like a kaleidoscope breaking an image into numerous pieces.
Meanwhile, the men and women cover every inch of their partners. There
is no space between them as they bend and fold over each other. The intensity
of the movement is attractive…
…Ms. Buglisi’s new ballet “Rain” was inspired
by her trip to the Venezuelan rain forest. As a prelude, musician Glen
Velez plays a few measures on the frame drum; it’s almost difficult
to believe that the variety of sounds he produces is coming from the hands
of one man. When the curtain rises, it reveals a scrim on which beautiful
images of the rain forest are projected. The dancers perform behind this
scrim… The movement itself has a writhing, tribal feel; there is
plenty of arm stretching and curved backs. The partnering here is tense
and aggressive; there’s a bit of coercion going on, though the embraces
bring passion, not anger, to the work.
There is one moment in which the images and dance marry seamlessly: On
the scrim is one giant drop of water that swells and falls slowly from
the top of the screen while a small group of dancers moves with slow,
careful strokes. One couple stands close together, facing one another,
with raised arms that fall and bend as gently as the drop of water…
Mr. Foreman’s “Cascade” had its New York premiere at
the Joyce…The seven dancers cavort joyously in modern movements
that are rounded out with ballet vocabulary – a sort of modern dance
version of Balanchine’s “Apollo.” Only here Apollo is
one of many young gods, cheerfully frolicking around a hillside. The movement
looks inspired by images of dancers on Grecian urns; the group links arms
or runs together, looking to each other as if to confirm the sense of
brimming delight…its mood is infectious…
“Pollen in the Air,” a premiere by Ms. Buglisi, is a silly
little romp that can make you smile even if you don’t share her
sense of humor. Like naughty children in a park, the dancers pop balloons
on each other and blow their noses on their skirts. It’s a light,
harmless antidote to some of the more serious pieces.
Across the two programs presented at the Joyce were some of the best pieces
in the Buglisi/Foreman repertory: “Suspended Women” and “Requiem,”
both by Ms. Buglisi, and “Mean Ole World” by Mr. Foreman.
All of these pieces hold out an idea – women’s lives, tragedy,
and jazzy fun, respectively – then mine that idea in glorious variety.
“Requiem” – with its women who stand and move with heart-breaking
slowness, like sorrowful statues coming to life to mourn man’s hubris
– is an utterly beautiful soul-stirring work of dance…
By Marian Horosko
now, Jacqulyn Buglisi and Donlin Foreman don’t want to
talk about their ten years as director/choreographers of the
Buglisi/Foreman Dance Company or their international reputation.
Or about their eighteen magnificently trained dancers, some of
whom are also in the present Graham Company. Or their rave reviews
from every major critic (“stunning, extravagant and beautiful,” The
New York Times), or their tours in Europe, Australia, India,
and Scotland. They want to share their deepest thoughts about
dance. They have flown straight but far beyond the chrysalis
of the Martha Graham Contemporary Dance Company from which they
“Martha instilled in us,” they say in one voice, “the
need to continue to continue. We are always, in dance, living in
the moment and living in the future. But we are ourselves, in this
place and at this time. Full of the experiences of our past, yet
not in imitation of it.”
Past experiences for Foreman come from 1977 to 1994 in the Graham
and Eliot Feld companies, where he discovered his lyricism in movement
through music. As poet, philosopher, teacher, Donlin respects the “collective
unconscious that runs through all humanity. Archetypes. Myths.
Those things are part of the human experience and are present in
all of us. It is the root of our strength, but it did not come
from Martha. It came from mankind. It takes a desire to touch the
heart of the collective unconscious. It is our desire. It is that
same lineage that moves forward through us. You can inherit a legacy,
be part of it, learn from it, without imitating it. That’s
what we do.”
Munson Williams Proctor Arts Institute
Bulletin, November 2004
Experience the technical excellence and unparalleled dramatic power
of Buglisi/Foreman Dance at 8 p.m. on Saturday, November 6 at Wellin
Hall on the Hamilton College campus. The theatrical appeal of their diverse
repertory and dramatic intensity has won this company many invitations
to prestigious international venues and dance series. Founded in 1994
by Jacqulyn Buglisi and Donlin Foreman with Terese Capucilli and Christine
Dakin, this distinguished quartet, who danced together as principal artists
with Martha Graham for two decades, now broaden the boundaries of their
great legacy. With a company of 12 dancers they have defined a new dynamic
lyricism and developed a richly diverse and expressive repertory that
is unique, accessible and vibrant, communicating through dance “deep
matters of the heart.”
They have inherited a theatrical mastery of lighting, costumes and
stage space, a way of making us feel that each dance is an encounter
with destiny— The New York Times
This performance is made possible, in part, by the New York State DanceForce,
a state-wide consortium of choreographers, arts organizations, presenters
and educators. The New York State DanceForce receives major sponsorship
from the New York State Council o the Arts and Altria. Additional support
is provided by JPMorgan Chase and the National Endowment for the Arts.
Administered by Dance Theater Workshop and Dancspace Project, DanceForce
programs include artist residencies, community outreach activities and
dance programming that link artists and communities across New York State
The Mohawk Valley Dance partnership is a consortium of three community
partners; Munson-Williams-Proctor Arts Institute, Hamilton College and
the Central New York Community Arts Council Arts in Education Institute,
organizations dedicated to the advancement of an understanding of dance
across a broad spectrum of the community, inspiring people to make dance
a meaningful part of their lives. For tickets, contacts the Performing
arts ticket office at 797-0055 or (800) 754-0797.
“Girl’s Night Out”
May 1-8, 2003, Bellingham, Washington
Saturday night found me at WWU’s Performing Arts Center for the
Buglisi/Foreman Dance Company’s breathtaking presentation of
contemporary theatrical dance. Buglisi and Foreman, who were principal
dancers with Martha Graham’s company for 20 years, brought both
chills and laughter to the surface as the choreography and composition
of the different pieces made it oh-so-obvious that artistic freedom
is alive and well from New York City to Bellingham. Rich, detailed
costumes, taut bodies in motion, spectacular lighting and the astonishing
talents of two world-class choreographers made for an evening of pure
DANCE REVIEW; A high pointe for Pillow:
By Theodore Bale. Jul 28, 2003. pg. 030
Nacho Duato's Compania Nacional de Danza 2 and Buglisi/Foreman
Dance at Jacob's Pillow
Dance Festival, Saturday.
The legacy of the modern tradition as it continues to unfold
in Europe and America was the featured theme this past weekend
at Jacob's Pillow Dance Festival in Becket. Three different
shows proved how astonishing it is to observe the artistic
seeds, planted decades ago by master choreographers such as
Jiri Kylian and Martha Graham, blooming in the present with
such passion and precision.
At the Doris Duke Theater, Buglisi/Foreman Dance asserted the
tradition of Graham's forceful technique without shaking the
death rattle of American modernism, an admirable feat. …the
performers are glorious. "Suite: Arms Around Me" and "Lisa
D." (the latter danced to a radiant score for string quartet
by Lisa DeSpain) were the most imaginative and inspired.
Program showcases dance diversity
By Meg Freeman Whalen
Special to the Observer
CHARLOTTE, N.C. – The N.C. Dance Theatre marketed this
"Innovative Works" program as "unique, unbound,
Thursday night's performance in the intimate Booth Playhouse
certainly lived up to the ad.
With eight dances that ranged from gritty to goofy, elegant
to erotic, the program showcased the diverse talents of the
dancers and choreographers.
Salvatore Aiello's "The Afternoon of a Faun" opened
the show. Set to Debussy's impressionist music, the ballet
floats in that dim place between dreaming and wakefulness,
as a faun is seduced by nymphs in gossamer gowns.
Uri Sands was a mesmerizing faun, combining quick, animal movements
with languorous sensuality. The lovely long-haired nymphs glowed
in the rich golden light, sometimes shyly erotic, sometimes
After such serious attraction, Heather Maloy's "Couch
the story of the overpowering allure of a couch, was inanely
funny. Choreographed for two men and a woman (a hilarious Kati
Hanlon Mayo), this piece could have been subtitled "50
ways to use your sofa." A hideous couch became a balance
beam, a springboard – even a ship – on which the
dancers lounged, lunged and belly-flopped.
Several works explored the push and pull between couples, most
beautifully Donlin Foreman's "So I May Say," a duet
danced by Sands and Traci Gilchrest. In this lovely work, the
dancers often move in unison, requiring exquisite technique.
Sands and Gilchrest were perfectly matched. Their movements
were so well synchronized that there was no doubt that the
two characters belonged together, in spite of periodic antagonism.
Two intense large-group works demonstrated excellent collaboration
among the company: Jason Jacobs' "Flow Form" (a new
work) and Alonzo King's "Tango." Both sizzle, but
the smoky, sultry "Tango"
appears this weekend only. Don't miss this sexy and invigorating
N.C. Dance Theatre presents eight works.
When: 8 p.m. tonight and Saturday and April 11-12; 7:30 p.m.
Where: Booth Playhouse, N.C. Performing Arts Center
Details: (704) 372-1000; www.ncdance.org
The Dallas Morning News
Review: Dance Salad tosses modern touch into ballet mix
Excess is the main feast when talent from four continents congregates
By MARGARET PUTNAM / Special Contributor to The Dallas Morning News
HOUSTON – For someone inclined to gluttony, Cullen Theater was
the place to be Thursday. Dance Salad Festival 2003 was a feast of
talent from four continents that included dance companies seldom or
never seen in the United States. Ballet dominated, but except for a
pointe shoe or two and Ben Stevenson's lyrical suite from Fountain
of Tears for the National Ballet of China, the style was essentially
Throttled energy surged and waned in Buglisi/Forman Dance's Requiem,
set to Gabriel Faure's music. Five women in extravagant draperies rose
and dropped from their stools, occasionally whipping their dresses.
Baroque formality and grace captured another time. Houston Chronicle
April 18, 2003
'Dance Salad' ingredients touch hearts and minds
By MOLLY GLENTZER
Copyright 2003 Houston Chronicle
Dance Salad producer Nancy Henderek has outdone herself this year.
In three nights, she's packing in glimpses of as many companies as
you're likely to see at monthlong festivals on the East Coast. Thursday's
Wortham Theater Center opening offered six U.S. and three Houston premieres.
Henderek curates the show like a gallery director, piecing bits of
evening-length works – typically pas de deux – into "new" suites.
This works better with some dances than others if you don't read the
program. The current crop bears her signature preference for stark,
unrelenting modernism. More comic relief might have made me forget
the show was three hours long, but that's like complaining about too
many eggs in one's Easter basket. While there wasn't a thematic thread,
it was a big night for limbs. Quaking hands were like exclamation points
in Memphis, Pointless Pastures, Requiem and Sigue – variously
representing frustration, confusion and anger. There were more than
a few intentionally sickled feet, suggesting vulnerability. But there
were also exquisitely pointed and arched feet punctuating the jaw-dropping
extensions of super-human dancers.
There was so much spectacular dancing, it's impossible to pick favorites.
Among the strongest lingering images is the memory of five Buglisi/Foreman
Dance Company figures – stylistic descendants of Martha Graham –
in Jacqulyn Buglisi's Requiem. Poised atop boxes in shafts of gold
light that recalled the dusty, morning-after dawn of New York's Ground
Zero, they moved mostly in stunningly powerful unison. They raised
their arms like a row of mourning Liberties and tested the air below
with searching feet.
Top-notch dance ‘pardner’ rounded up for
Martha Graham alumnus Donlin Foreman readies for a friendly
showdown at this week’s performance with the Trenton Education
By Anne Levin
Trenton, NJ Sunday, May 18, 2003
Donlin Foreman never knows what kind of role he’ll be playing when
he appears on stage with children of the National Dance Institute. But
each time founder Jacques d’Amboise calls on him to join the cast,
“I just do what he tells me,” says Foreman, known in dance
circles as longtime lead dancer with the Martha Graham Dance Company and
co-founder, with his wife Jacqulyn Buglisi, of Buglisi/Foreman Dance.
“For almost 10 years, I have done many token adult characters with
NDI. It’s a lot of fun and I’m always happy to do it.”
Thursday, Foreman will join in when the Trenton branch of NDI, known as
TEDI Dance (Trenton Educational Dance Institute), appears in its annual
performance at the War Memorial’s Patriots Theater. “We’ve
Got Mail,” which stars local students, is a free program that will
begin at 7 p.m. (No more tickets were available at press time.)
For Foreman, who is also on the faculty of Barnard College and teaches
at the Julliard School, working with NDI is an opportunity to let loose
and have fun…
“What I always loved about working with him (d’Amboise, the
former New York City Ballet star who founded NDI) is that I could think
in cartoon terms, whereas in Martha’s work I was always doing these
really heavy archetypes like Oedipus and Jason. So here, my imagination
would just fly into the characterish end of it.”
Foreman plans to reprise one of his NDI roles in this week’s performance.
When first asked to appear in NDI in a production called “The Shooting
of Dan McGrew,” he immediately thought of a big cowboy hat he’d
“I started to work with the makeup,” he recalls. “I wanted
big eyebrows and a big, black mustache and a foam-rubber hat. All of a
sudden I looked into the mirror and it was Yosemite Sam.”
A native of Salt Lake City, Foreman danced at the University of Utah with
Ballet West before coming to New York and joining the Graham Company in
1977. He and Buglisi, who have a teenaged son,
were with the company for 20 years, working closely with the choreographer
for 15 of those years. Graham died in 1991.
“The reason for being there was Martha,” he says. “Jackie
and I both felt we were apprenticed to a master craftsman. So that inspired
us and it keeps us working now when things are rough and tough.”
Notorious for her genius and artistic temperament, Graham was a monumental
personality Foreman feels privileged to have known…
After Graham died, Foreman and Buglisi stayed with the company for a few
years before leaving to form their own company with fellow Graham alumni
Christine Dakin and Terese Capucilli. Buglisi/Foreman Dance has won favorable
notices in New York and on tour.
“The starting point, which we got from Martha, is mainly the gravity
and physicality,” says Foreman, who choreographs a lot of repertory…
Dancers in the company range from 24 to “fiftyish,” says Foreman,
“and all in between. That’s the remarkable thing about it.
It’s very unusual in that way, and it creates a full palate for the
interpretation of these works.
“We have former Graham dancers, but in the past few years have brought
in dancers from other arenas, too, and they are taking over the thrust
of the work now. We will always work with these (Graham) people at different
times, but the thrust of the company now is really the individuals we’ve
trained and worked with.”
These works and
the estate of Martha Graham have been the subject of much recent turmoil…
Foreman is happy to be removed from the fray but pleased to see his former
company back on its feet.
“I’m really glad for them. But you can’t be involved
in a thing like that that is so consuming. I knew all these (Graham)
works like the inside of myself. So my job was to move on and find the
inside of this work I’m doing now, and that’s not so easy.”
“We’ve Got Mail” is something else altogether, a professionally
choreographed performance that gives Trenton school students a chance
to take part in a professional production from start to finish. The objective
is as much to instill a sense of discipline as to provide an artistic
OF DANCE WITH FRANCIS MASON
9 Nov. 2002
The other nights as I watched Ice Theatre of New York at Sky Rink at
Chelsea Piers, I recalled how I used to think dancing on ice is swoopy
or jazzy to soupy or peppy music with acrobatics thrown in. Ice Theatre
of New York kept changing my mind. With ballerina Katherine Healy, who
knows the classics deeply, and David Liu, Nijinsky on ice, they are also
focused on young choreographers like Jacqulyn Buglisi, who's made the
finest new modern dance in the past ten years. Buglisi's given them a
contemplation for a man and a woman about belonging to each other that's
based on a poem by John Donne. Ice Theatre of New York has one more performance,
tonight at 7. Run put on your coat and dash to Sky Rink, Pier 62 at 23rd
Street and the Hudson River. And that's the story on THE WORLD OF DANCE.
This is Francis Mason.
23 Nov. 2002
The program Purchase Dance Corps put on last weekend at Purchase College
was so good I went back to see it again; you could see why important
choreographers want to work with these dancers. Nicolo Fonte, a Purchase
graduate who’s been working in Europe, gave us a wow of a curtain
raiser to Benjamin Britten’s “Simple Symphony.” Fonte
knows instinctively how movement can fulfill and extend good music. I
hope he sticks around; we need that talent everywhere. Sean Curran’s
new ballet “The Saxophone Dances,” a collaboration with American
Ballet Theater’s Studio Company, caught the blues and gave us high
notes. In between these two new works the Purchase Dance Corps gave us
“Suspended Women,” a masterpiece about women caught in time,
fulfilled and unfulfilled. And that’s the story on The World of
Dance. This is Francis Mason.
122 Fifth Avenue,
New York, NY 10011 Tel: 212-633-7600 Fax: 212-633-7666 Website: www.wqxr.com
WQXR-FM is The Radio Station of the New York Times
October 24, 2002 Vol. 29, No. 43; $1.00
Eloquence without words
Buglisi/Foreman Dance graces Kaatsbaan
Throwing these bodies voice-like through the passions of man and woman,
our movements become to the eyes what words are to the ears.
These lines by Donlin Foreman are from the credo of the prestigious
Buglisi/Foreman Dance Company, founded in 1994 by Jacqulyn Buglisi
and Donlin Foreman. The husband and wife team, who danced together
for two decades with Martha Graham, have been presenting their original
choreography for seven seasons in New York City, most recently at the
Joyce Theater. Described as “theatrical dance,” two superb
performances were held this past weekend at Kaatsbaan International
Dance Center in Tivoli, over across the Hudson. For those who missed
them or want to see more, the company will present a different program
at Kaatsbaan on November 2 and 3.
The program I attended included five dance works, four of them choreographed
by Foreman and one by Buglisi. Although the two-hour program, which
had two intermissions, was longer than usual for dance, I savored every
moment of it. My only wish was that I didn’t have to take notes.
I didn’t want to tear my eyes away from the stage. I also didn’t
want to try and verbalize what was being described so eloquently without
words. But that’s my job, and this performance was definitely
one of the times I was grateful to have it.
The absolute highlight of the program was Buglisi’s Requiem,
a truly gorgeous and memorable work that was premiered in New York
City just this year. Exquisite costumes designed by Buglisi and A.
Christina Giannini play an integral role in this piece performed by
five women to music by Gabriel Faure. The dancers wear flowing satin
gowns with drapery emphasizing their hips and long trains. Each gown
is unique, with an emphasis on shades of gold and green. The flowing
trains and drapery become capes towards the end and are then discarded
in what appears to be a gesture of freedom. Throughout this work, the
beauty of the women’s bare backs adds to their statuesque quality.
Moving slowly and deliberately on wooden pedestals, their trains hiding
the woods, the dancers are imbued with goddess-like stature. There
is a definite Baroque painterly quality to this work, orginially inspired
by 17th century Italian painter Artemisia Gentileschi. After 9/11,
Buglisi’s Requiem evolved to reflect this sensitive time.
The first four works on the program were all quite somber and intense.
A romantic pas-de-deux, titled From Pent-Up, Aching Rivers, was danced
to music by Sergei Rachmaninoff and narrated by Clair Bloom reading
Walt Whitman’s poem of the same name. Suite; Arms Around Me was
dedicated to friends lost to AIDS and time. Dancers in this three-part
suite wore street clothes, heightening the reality and relevance of
their movements. Martine van Hamel, who commissioned this work for
New Amsterdam Ballet, joined the company in the third part. Prelude,
a solo danced to music by Gerald Finzi, was the next to last piece
in the program.
The mood turned upbeat at the end as the masterful ensemble strutted
its stuff in Mean Ole World. Lisa DeSpain’s jazzy blues score
started out slow and sensuous and picked up speed and steam as it went
along. This highly entertaining work got downright playful towards
the end. The audience cheered its approval during the company’s
curtain call. Holding hands, the ten dancers took their bow by spreading
their legs and resting their heads on each other’s rear ends.
For locals who prefer not to travel into New York to see professional
dance or for weekenders who need a break from the city’s hustle
and bustle, Kaatsbaan is a blessing. Simply driving into the beautiful
pastoral facility, on 153 rural acres, generates a feeling of serenity.
The performance space couldn’t be more ideal – comfortable
tiered seating, a dance floor the size of the Metropolitan Opera House
stage, and state of the art lighting and sound equipment. Tickets are
expensive for the Hudson Valley: $30 for adults, $15 for children.
But another performance by Buglisi/Foreman Dance will be well worth
the price of admission. Reservations can be made by calling 845-757-5106.++
The Chautauquan Daily
August 3, 2001
Crowd Applauds Diamond's New Production
by Mizzette Fuenzalida
It was an evening of firsts.
…Resident choreographer Mark Diamond's Chautauqua premiere, Ophelia's
Lament, received thunderous applause from a standing room only audience.
The new choreography presented by Donlin Foreman and Terese Capucilli
of A man and a woman sit next to each other… was another outstanding
ballet premiere for Chautauqua.
…It was a toss-up between Diamond and Foreman. Both are modern
pieces, premieres, and part of larger pieces that will be performed later
in the year. It was a joy to be part of ballet history here at Chautauqua.
A man and a woman sit next to each other… was set to the music
of George Ivanovitch Gurdjieff and his pupil Thomas Alexandrovitch de
Hartmann. Donlin Foreman and Terese Capucilli of the Buglisi/Foreman
Dance Company were formidable and graceful in their presentation.
A solo piano carried the entire musical portion, which allowed the dancers
to be as expressive as they wanted to be. The most electrifying part
was the minor sections when they slowed down to a crawl and kept constant
physical contact with each other. The continuous touch and twine technique
was superb. It was as if we were watching sculpture in motion as their
choreography allowed specific visual spacing.
Outstretched arms against a dark background and spot lighting enhanced
our visual connection and we began to become part of the dancers.
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