The Oberlin Review
<< Front page News December 3, 2004

Fall Forward opens in Warner

Fall Forward, the annual dance performance sponsored by the Oberlin Dance Program, opened on Thursday and runs through Saturday, Dec. 4. A spectacular array of dances choreographed by professors and students offers a night of beautiful movement.

The show opens with “Alone for the Holidays,” choreographed and performed by Rachel Winograd.  Complete with white Christmas lights in the background, The Nutcracker playing on a television on stage and funny nutcracker-covered pants, Winograd creates a quirky, seasonal mood. She dances in clear, succulent movements, her attention riveting and bold, drawing the audience into wondering what she is longing for that seems to be right out of reach.  Her character is often, but not always, clear and defined by her movements.  

Rose Reid and Lucy Segar perform next in a collaboratively choreographed and danced duet called “Ascending,” These two well- matched dancers begin in dramatic lighting and move in tandem during the first section.  The tidbits of partner work add spice to the overall dance.  The fluidity of their movements continues through the entire piece, as each dancer starts to move in her own direction. They do, however, remain in touch with each other, keeping aware of the actions of the other until their movements again converge.  The vocals accompanying the song are sometimes distracting, tending to make the audience try to connect the movement to the words.  It seems that the audience would have a better chance at coming up with a deeper, more meaningful story line for the dance than that given by the lyrics.  Musically, the selection is excellent. 

“For Renni, Wherever I May Find Her” is next in the program, choreographed and performed by Jessie Male.  In this musical selection, the lyrics don’t seem to distract, for, as the Harptones sing, “Life is but a Dream.”  Male does indeed create a dream-like quality through her facial expressions, which blossom as the dance progresses, and through her beautifully executed dance.  She includes in her movement repertoire-specific hand positions that act as a connecting thread to string the various emotions explored by her composition together.  The bright costume, luxurious movement and light music are clearly juxtaposed with the sweet longing clearly defined in her face and body.

Guest teacher Holly Handman’s piece, “I See You,” is a heartbreaking duet.  The minimal set of two white cloth squares transports the audience to a sterile hospital where a young man, Lincoln Smith, watches and longs for his love.  The dance, mostly performed by the young woman (Winograd), is full of powerful and painful movements that leave one with the feeling of discomfort that usually accompanies the visiting of hospitals.  The text over the sound system is supplemented by Lincoln’s own voice on stage, which is a great way to approach adding text to dance.  The piece is emotionally draining, looking deep into the heart of relations that face difficult obstacles when communication is impossible for one reason or another.

“Second Wind,” choreographed and performed by Beth Rogers, has the added excitement of live music, with the musician on stage and interacting with Rogers. Lisa Blatchford provides improvised music for the piece on flute.  The duet, in which the dance surely evolves as the musician-dancer relationship is established and expanded, contains strong, intense movements with clear lines.  The interactions between the two are intense and come to a shocking end as the lights black out on Rogers jumping off into the night.

Nell Timreck choreographed and performs the next dance, titled “From the Inside Out.”  Providing the audience with fabulous shapes, she moves quickly, assured in her direction.  Timreck creates beautiful lines as she and the music flow together.  Her timing and integration of movement and music create an excellent blend.  She also teases the audience with great facial expressions in the beginning that fade away as the dance progresses.

The Most Beautiful Boogieman, choreographed by Adenike Sharpley, instructor of African Dance, and performed by Mark McGee and Pia Murray, is a stunning visual experience.  The building of suspense and release of it through the bodies of both dancers is very well executed. The imagery created by Murray’s fingers provides a somewhat eerie air to the relationship between the two. Both dancers have movement styles that compliment each other very well.

The closing dance, Original Insurgent, choreographed and performed by Rakia Seaborn, is a fabulously over-the-top, dramatic dance.  Her sharp, quick movements with rarely inserted luscious movements are done with agility and grace.  The dramatic gasping and emotional roller coaster she takes the audience on adds quite a flair to the closing of the show.  Seaborn truly is a drama queen, dancing to Handel in blue jeans.

Overall, a great show to relax, take a break from working this weekend and check out.
 
 

   

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