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Five Points, Take Dance + Pulse: Part II at the Merce Cunningham Studio

December 19, 2011
John Eirich & Sarah Mettin Choreography by Take Ueyama Photo by Kokyat

John Eirich & Sarah Mettin Choreography by Take Ueyama Photo by Kokyat

Having just seen Take Dance at the WestFest Dance Festival I was very excited to witness the company again for Five Points Take Dance + Pulse: Part II and I was not disappointed. Five Points Take Dance + Pulse: Part II premiered five new works set to original music by the PULSE composers collective in a three-night performance series entitled FIVE POINTS.  Representing five distinct points of view, each piece is by five different choreographers (Kristen Arnold, Jill Echo, Kile Hotchkiss, Milan Misko, and Takehiro Ueyama) set to new post-classical/jazz music by five different composers (Jamie Begian, Melissa Dunphy, Joseph C. Phillips, Jr., JC Sanford, and Joshua Shneider).

First of the program was After Image, the collaboration between Kristen Arnold and composer Joshua Schneider. Dressed in sky blue costumes by Mark Koss and with Mr. Schneider’s haunting score, the dance had an ethereal quality. Ms. Arnold abstract use of, pattern and space was reminiscent of Merce Cunningham. The dancing was sharp, crisp and clear.

Marie Zvosec, Clinton Martin & Nana Tsuda Misko Choreography by Milan Misko Photo by Kokyat

Marie Zvosec, Clinton Martin & Nana Tsuda Misko Choreography by Milan Misko Photo by Kokyat

This, That or the Other choreographed by Milan Misko to the music of Jamie Begian was one of my favorites of the night. Set as a trio for Clinton Edward Martin, Marie Zvosec and Nana Tsuda Misko, and is a whimsical study of what is, what is not and what should be expected.  Mr. Martin was brilliant in his exploration of just what is expected of him and what he was to do with several articles of clothing handed him. He is given three articles of clothing, a hat, a handbag and underwear, and in his naivety must decide where each is best suited and why. It seems to be child’s play gone haywire, but in a good way. In the end it was not so much as what Mr. Martin wanted but what was expected of  him. He ended up all dress up but appeared unsure as to where he was going.

Marie Zvosec&  John Eirich Choreography by Take Ueyama Photo by Kokyat

Marie Zvosec& John Eirich Choreography by Take Ueyama Photo by Kokyat

Takehiro Ueyama influenced by Edvard Munch’s painting “The Scream” explores our obsession with fashion and personal appearance. Summer Collection, 2012, the dancers model as if on a catwalk, exhibiting both arrogance and a slight disdain for the audience. With awkward movements and macabre facial expressions they slowly began to show the strains required from the constant pressure of expectations. The piece is both strange and surprising, fully utilizing the wonderful score by Melissa Dunphy. John Uirich was a standout in the performance and seems capable of any choreographic feat asked of him. If there are models and supermodels hence there must be dancers and super-dancers. John Uirich is a super-dancer!

Gina Ianni Choreography by Jill Echo Photo by Sinru Ku

Gina Ianni Choreography by Jill Echo Photo by Sinru Ku

View from the Inside choreographed by Jill Echo to the music of JC Sanford is a study of movement and emotion. It is an ensemble work for seven dancers. Nana Tsuda Misko was outstanding as a woman who seeks to break away from the pack, wishing to explore her own road and express her individuality. She is both comforted and confronted by Milan Misko as he attempts to guide her back to what is expected and acceptable. Ms. Echo’s exploration of space, pattern and shape has woven together a work of conviction and strength.

 Lynda Senisi, Marie Zvosec, Sarah Mettin &  Kristi Tornga Choreography by Kile Hotchkiss Photo by Sinru Ku

Lynda Senisi, Marie Zvosec, Sarah Mettin & Kristi Tornga Choreography by Kile Hotchkiss Photo by Sinru Ku

The best was saved for last, The Substance of Things Unseen, choreographed by Kile Hotchkiss to the score by Joseph C. Philips was a piece for five women. The dance was vibrant, alive and seldom stopped, it made for a perfect marriage of music and movement. Marie Zvosec draws the eye for here mastery of movement and her sublime stage presence. Lynda Senisi is a powerhouse of emotional force and intensity that is breathtaking. Sarah Metton as guest artist must be mention for her intensity of performance and the unique energy she brings to the stage.

All in all it was a great evening of dance and I do hope there will be a Take Dance + Pulse: Part III.

FIVE POINTS – TAKE Dance + PULSE: Part II

 

Choreographers:

 Kristen Arnold, Jill Echo, Kile Hotchkiss, Milan Misko + Takehiro Ueyama

Dancers:

Kristen Arnold, Brynt Beitman, John Eirich, Kile Hotchkiss, Gina Ianni, Clinton Edward Martin, Sarah Mettin, Milan Misko, Nana Tsuda Misko, Lydia Senisi, Kristi Tornga, + Marie Zvosec

Composers:

Joseph C. Phillips, Jr., Jamie Begian, JC Sanford, Joshua Shneider + Melissa Dunphy

Musicians:

Kevin Fagen (viola), Jacob Garchik (laptop, trombone, accordion), Ana Milosavljevic (violin), Chris Reza (woodwinds) + Mariel Roberts (cello)

Lighting:

Jason Jeunnette

Costumes:

Kristen Arnold, Jill Echo, Kile Hotchkiss, Milan Misko + Takehiro Ueyama

Save the date

SALARYMAN

The Nagelberg Theater Baruch Performing Arts Center, NYC

February 8–11, 2012 all performances begin at 7:30 PM

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