CityDance stormed the stage Wednesday night with seven dynamic performances any viewer could be moved by. The company boldly opened its 2003-2004 season and launched its international tour Wednesday night with "AIRBORN" at the Terrace Theatre at the John F. Kennedy Center for the Performing Arts.
The D.C.-based dance company opened with "Be Still ...listen," choreographed by Roger Jeffrey, a mix of contemplative music (Jaimek Potter) and primal movement made elegant by a quartet of women dancers. The work is actually about blindness, which in traditional African cultures is a sign of wisdom. This performance set the tone for the other intelligent or cleverly humorous pieces in the rest of the series.
Company member Karen Bernstein danced one of her final performances in "Khabet (the Shadow)," choreographed by Dana Tai Soon Burges, in which she was featured alone on a meditative stage. This piece rings of spirituality with music by Phillip Glass and its message that depicts the openness with death one may feel in a desert.
The third piece, "AXIOM," one of the world premier pieces choreographed by Vladimir Angelov, spiced up the stage with song and dance, yet kept the subject matter intellectual. The energy of a humorous chase scene was activated by upbeat techno music, and the dancers' movements wanted to burst, yet remained stiff and robotic. Angelov wanted to make note of the possibilities of life in the future with man's blurred relationship to the machine. However, the ending was softer than one expected.
Angelov remarked about this piece, "An axiom is a self-evident truth which is taken for granted as the basis of reasoning. But does the comfort of truth hold us back from reaching beyond?"
The highlights of the showcase were two powerful solo performances by artist-in-residence Rasta Thomas. "Bumblebee," choreographed by Vladimir Angelov, embodied clever humor in the cathartic movements by Thomas that occurred while he was being chased by an imaginary bee.
Thomas' other solo piece, "Awakening (Washington Premier)," choreographed by Roger C. Jeffrey, showed such powerful movement that it could render viewers speechless or tear-filled at their own awakenings.
Thomas is a Washington native whose name is known throughout the dance world and whose pictures have appeared in virtually every dance magazine. This is Thomas' second season as artist-in-residence with CityDance.
"Message (A song of Sarajevo)," was a more politically challenging piece, choreographed by company artistic director Paul Emerson. This triumphal piece looked at the devastation of the lives of ordinary people in the Balkans during the Yugoslavian civil war. The piece began with movement that is light and carefree, interrupted by bursts of dramatic sorrow and conflict. Using a score by Petris Vasks, the underlying "Message" calls for the need for art to speak to social and civil issues.
The final performance was much lighter than the others, but seemingly less effective. "A Fine Romance," choreographed by Kris O'Shee, is a tender piece about life and love danced to the songs of Louis Armstrong and Ella Fitzgerald. The dancing was more ordinary, although Emerson is featured in the partner dance at the end.
This season the company promises to break boundaries, not only in their diverse pieces, but also in embarking on an international tour. The first tour moves to Eastern Europe and then returns to St. Petersburg, Russia. The company will make its New York debut in the spring and returns to the John F. Kennedy Center for the Performing Arts on Sunday, March 14, 2004 as well as making trips to Richmond, Va., Philadelphia, Pa. and other cities.
Even those who don't understand dance should see this performance. The pieces seek to attract all people since the company's mission this year is to bring dance to as many people and places as possible.
The Washington performance was a special two evening show at the Kennedy Center. For more information about CityDance, go to their Web site a www.citydance.net or call (202) 238-0172.
