Girlfriend in Tacoma

Feb. 21, 2009 at 1:03am

go see dance, support your local dancer...

(mlk and MOVE! 10 are wicked-cool)

The kid had dancer-hand-out-programs- duty, (although I think there was a miscommunication) and I had to deliver the sweetest baby to his costuming mama, and so the stars were all in alignment and I was on-hand to see MOVE! Ten tonight.  Last night, really. ----REGARDLESS---

The MLK Ballet crew outdid themselves and brought an amazing show to the SOTA theatre (and will bring it again, today at 2 p.m. and 7 p.m.) --Proceeds will help to bring dance to those who can't afford to bring it into their own lives.  Dang, I wish the program had been around when I was a kid... but at least I have it, now...

Involved in the adult class as I was (am, just temporarily not, finances and babysitting costs and kid's needs and emo-ness at issue here) I knew all the dancers of The Company, and have seen the pieces performed, just not in costume, and in make-up. I watched the run-through before the show, and was stunned at how amazing Lisa Fruichantie's costuming was, and how effective the mourning sequences were emotionally (and me with much mourning experience, I'll tell you what, Joe-Bob)  Shelby and Jordan stood out to me personally, with "The Couple" --whether or not you've ever been in a mourning/grieving situation, you can relate to the yearning, the pulling away, the pain, and the hollow ...strength that is relationships in times of strife.  All the pieces performed-- and the music by Portland Cello Project (and Mozart --God love The Requiem) were stirring and stunning.  And that was before the proper make-up (regrettably, we missed the second half, as The Kid became excessively annoying midway through the last performance pre-Intermission...)  --at any rate, as for the rest of the show...

--There were the rose petals and hand-seats (reminded me of a kid I went to Kindergarten with, who had a house on Chamber's Creek, he had one of those hand-chairs in, like, 1976?) of Alloy Dance Project  --but there was also the concept of labor and work mixed with strength and dynamic movement... The music was haunting and amazingly live-feeling (a portent of things to come?) with drums, guitar, and song; they all helped underscore the concept but in a way that was totally not high-concept; it felt accessible and looked beautiful.

Then there was the BareFoot Collective piece, "Risk in Expectation," a dance-film mixed with live-dance featuring Katie Stricker.  Striking is the best word I can use for the piece, with its black velvet and curly hair (on film) and fabulous bob (live) and emotional intensity and restraint with abandon; the contrasts with the piece on film to the same piece, live, were also striking, and it was a highlight for me.

Trouble was, the evening was filled with highlights.  Project: PB   TMOG was off to a rough start when live musicians set up and appeared to have amp issues; the piece itself was a semi-grueling seven movements (or do you call them pieces?  I don't know, I'm not dance-sophisticate enough to know terms that well) --BUT it was filled with unexpected pleasures, like the live music that could have almost felt redundant if not for the heartfelt rendering of it; the guitar alternated between an atmospheric guitar-goes-weirdly-eerie-cello and soothing waltz-like strumming; the teeny but loud, simple keyboard chords and soothingly wailing voice underscored the feelings the dancers emoted and made me feel comforted while uncomfortable; it was like I was put in touch with feelings I'd been repressing and the bodies on-stage were putting it out there, within the womb of music, for me to accept...

The Kid proved to be my undoing, though, rather loudly asking "how much longer" and stating "I'm *thirsty!* and in general making me feel as though I was a distraction with my partnership; at intermission we said a quick goodbye and left.  

I strongly urge anybody to see it today.  I challenge anybody who questions the somewhat avant-garde nature of some of the pieces to ask themselves what they're afraid of.  I hope everybody can someday open themselves up to dance.

it's super powerful shit, man.

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musing her way through arts, culture, dining, shopping, exercising, and parenting, all while wearing a pungent, truffle-like aroma.

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