Music and Movement: 'Sound in Form' Project of Dance Revolve

The company's fourth annual program, Sound in formdemonstrated a deepening and refining of that connection. The works included terrified and varied approaches, yes, but each one breathed with that special sound harmony and movement meeting … sounds in shape! The magic of music and movement that breathe together did not stop flowing from the stage and adorning us at the audience.

The program opened with Danielle Diniz's vibrant and attractive RevolutionsWith musical composition of Anthony Hervey. Quick steps aligned with jazz battery rhythms. The movement was quite ballet in shape, but it also oozed with sass and panache: rolling hips, safe feet, cunning smiles that accompany rapid turns. The work thus felt similar to the works of Balanchine that also explored this territory.

Like Balanchine also, Diniz built space and structure to work well with this trio (danced by Kailee Felix, Kirsten Macintosh and Katie Vigly). In general, after only a few minutes, it made me feel viscerally that it can be the magical dance of concerts, when the alchemy of music, movement and design gel. The work also personified short and sweet, a small cupcake that offered a complete feast of vitality and kinetic energy.

Luis Ocaranza's Love not so obviousWith Katie Martucci score, he maintained that delicious alchemy. Aram Hangen, with fluid energy and passionate in its movement, embodied the sensation of the score: jazz rock with just a touch of independent cold. Kailee Felix joined him for a Pas de Deux soothing in their ease, the connection between them beautifully not forced. Felix, on the other hand, was soft but tenacious in the textures of each count and step. It was another delicious bite of yes, sound in shape.

Lauren Lovette's Bones/Falanges He brought another rich and significant Pas of Deux, but of a new tone: stubborn, ardent, assertive. The drumments of Cameron Macintosh (score composed of Macintosh and Daniel Hass) found the rays accents of the dancers. The partners of the Kirsten Macintosh and Ocaranza duet joined and separated, the magnets that attract and repel. Macintosh had a lovely way to let its length through the changing shape and line did their job, nothing to demonstrate.

A little more mystery, even anguish, entered the ether with attenuated lights and physical energy. However, its ferocity remained. The partners, as a person, also seemed to find a more moving harmony, a true tangible connection, as the work advanced in its end. That felt as a quite satisfactory way to finish his story without words.

Jeffrey Cirio's The one who sinks He was an enigmatic and equally convincing, only danced by Katie Vigly. His aqueous spine and his elusive gestures crossed the tones and textures of the score (compound and interpreted score by Josh Knowles), and his theatricality was equally masterful.

The abstraction in question did so that I was not very sure of the exact nature or the source of his patetism, but he felt honest enough to invite me completely. The mystery of everything, as well as its pure energy and visual beauty, attracted me directly. Filled the work in the same angular and unconventional way as it began; The pathos and enigma cycle, as all things do.

Emily Adams' Past livesWith score also composed of Knowles, it led us to a softer and more contemplative atmosphere. The quality of the movement was languid and without haste, magnificently, even when the speed intensified. As in previous works, the respective textures of the score and the movement were harmoniously fulfilled, gently folding as the agitated mass. The notes melted as the thorns did, they form to shape.

The work was functionally a duet, but some different dancers associated Joe Lynch, thus creating some of several couples, each with their own particular sensation and flavor. These comings and goings felt fluid and natural, as is ideally when people inevitably go and go from our lives.

Dara Capley's Bandage and wound He presented something with a touch of narrative, but also an attractive abstraction; There was enough theatrical clarity to keep guessing and wanting more. He started with Vigly's personality creating a table, causing audience cheers when the work ended (how moving!). It began to move, gestures that emanate the sensation: the voice of the live singer doing that so much (Katie Martucci score). Once again, I didn't know where his pathos came from, but I believed it, because he was honest.

The work was moved to several alone, duets and sections as a whole: a structure that incorporated connections and disconnections, the individual but also shared joys and sorrows, within a community. Later, they settled in a back picture around the table, make sure with each other but also careful.

Other augmented energy sections, with the same fresh configuration of movement and agitation performance, continue from there. The work could probably have finished around the table and felt complete, however, what happened after that was pleasant enough so that he did not have complaints … negative complaints, in reality.

Laine Habony is highly evocative Weight of the worldWith score composed of Katie Jenkins, it led us to the duets. He had a mood as unique as those of the previous works, with red and black wardrobe, as well as minor chords in music that bring a subtly chilling sensation. However, the duet partners shared a tenderness that warmed the cold. The movement was largely ballet, with some bravery and stay. His individual qualities joined in a consistent way to create that feeling, as well as all aesthetic flavors at work.

Kurt Douglas Vigor The high corridorAnother bigger group work closed the program. It also had a touch of delicious peculiarity, as with red socks juxtapose white suits. Associate mixed and combined with jazzy beats in the score (by Daniel Hass). The rapid movement changed to a much slower writing, offering an attractive rhythmic variance.

The slower shapes reflected those of a corridor (mild lamp, bent elbows with one striker of the other) and the tempo variance on how runners accelerate intentionally and slow down their rhythm while training. As with the program in general, the inventive configuration and the movement routes kept me locked in the action on stage.

Even more important, one could argue, a cheerful energy alone burst From the stage. That joy and brightness remained even when the speed of the whole and the physical power softened. They returned to the shapes of those runners when the lights fell: the corridor slowed their rhythm as they approach their cooling, everything that really has their cycles.

Everything made me want to see even more works as a whole of these artists, in case the practical aspects (financing, programming, logistics) allow it; I would love to see what their unique voices and strengths could contribute it. Anyway, I have full faith that they will continue to fuse the sound and movement together in a magical and memorable way, and I look forward to what new gifts of its creation that stir the dance project will present below.

By Kathryn Boland de Dance informs.