By Merilyn Jackson
FOR THE INQUIRER
“Ties that Bind,” seen at the Painted Bride over the weekend, exemplified, through the choreography of three Philadelphia dance makers, just how this dance community creatively pools its resources.
The first two works, by Jennifer Morley and Olive Prince, employed rigging hanging from the fly and told stories, while Nora Gibson’s was strictly abstract floor work.
Morley presented Bearing Fruit, a poetic and mythic narrative. Ellie Goudie-Averil and another dancer, wrapped like chrysalises in hammocks, unwound themselves to join the others, including Beau Hancock, the man born of a peapod in this story. Though it works as dance theater, the choreography was so quietly basic it could not have held the attention without the storyline.
In Prince’s Under Desire, the choreography was often gratifyingly surprising, but I could not find a link between her intention to portray what people feel compelled to do before they turn 87 (as she stated in the program notes) and the actual dancing. Morley, Prince, Elizabeth Reynolds, Caitlin Hellerer and Jennifer Rose all looked Olympian in Heidi Barr’s creamy tunics and danced like goddesses too, especially Rose and Prince. I could not guess what the extended use of the fog machine could have meant, except perhaps as a dreamlike device.
Photo Credit – Bill Hebert
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- (RE) Frame – MFA Thesis Performance by Blanca Huertas-Agnew - February 17, 2019
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