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Austin360 blogs > Austin Arts: Seeing Things > Archives > 2009 > June > 13
Saturday, June 13, 2009
Review: ‘Big Range Dance Festival’
Big Range Austin is a dance festival, but Thursday’s two Big Range performances at Austin Ventures Studio were as much about music as they were dance.
The first program “Composer Challenge” paired musicians and choreographers with mixed results. Of the six pieces, only Jayne King’s “Threshold” and Ben Schave and Caitlin Reilly’s “Tickets, Please!” thoughtfully engaged with their musical accompaniment. The evening’s second program, a combination of improvised music and dance, was inventive and playful.
Part of the problem with “Composer Challenge” might have been its premise. Two composers, Austin Schell and Laura Phelan, each created a piece. Each work was assigned to three different choreographers, who then made three separate pieces. For the audience, this meant sitting through the same musical composition three times within an hour, a tedious task.
Also, neither musical work had a great deal of dynamic shifts. Since most of the choreographers chose to make dance that corresponded to the music, rather than challenging the music’s tempo or tone, dance and music grew monotonous together. King made the fullest embrace of the music, using the repetition in Schell’s “3 Stages of Oblivion” to make a dance about the utility—even pleasure—of repetitive tasks. A large video, projected for the entire piece, focused closely on a slowly rocking wooden chair. First, King sat in a similar chair, also rocking, and then she lay on her back and circled her legs as if bicycling. Then she stood, gripped a bike tire and started to spin, letting the wheel’s weight and inertia pull her round and round, recalling the hours of fun such mundane tasks provided during childhood summers.
Performing as klutzy clowns, Schave and Reilly treated Phelan’s “Swings and Arrows” as background music. Not really a deep choice, but a functional one. Other pieces on the program included works by Rhianon Renae Kjar, Ashley Parker Overton with assistance from her dancers, Deidre Russell Robinson and Shawn Nasralla.
Musician Adam Sultan opened the second show by quickly setting a playful tone. Improvisation performances often offer a chance to watch the subtleties that emerge as dancers and musicians play—play with how weight settles into their bodies, how an instrument sounds when touched in a bizarre way, or what sound happens when a person throws herself into an object. Even when I don’t know what’s going on, I know I’m being asked to open my mind to experience a room and a group of people.
The thirty-minute jam of six dancers and two musicians, Sultan and Thomas van der Brook, felt hypnotic and comedic by turns. In a late solo, Chell Garcia Trias’s joints seemed to melt as she moved. Mari Akita had a quirky sensibility that also separated her from the group. Several performers used improv to point to theatrical conventions often left unmarked. Sultan ran into the audience, producing rhythmic squeaks as he jumped on the theatre’s stairs. As two dancers crawled to the side of the stage, they called to someone in the wings, “Yoo hoo!” The improvisation felt full of clever joy.
Clare Croft is an American-Statesman freelance arts critic.
The Big Range Dance Festival continues through Sunday. See www.bigrangeaustin.org.
