The CSULB Dance Department presented “Fall For Five,” a concert consisting of five compelling dance numbers that premiered at the Martha B. Knoebel Dance Theater on Wednesday. The program featured internationally renowned choreographer Twyla Tharp’s “Noir” as well as original choreography by CSULB faculty and guest artists.
“Canción (Songs of Memory),” a piece by assistant professor Lorin Johnson, opened the program with the soothing sounds of lapping water filling the darkened theater. A soloist sprang into motion but quickly paused to stare through an opaque curtain. The curtain separated her from the bodies of dancers, which moved like watercolors in motion.
Through that initial yearning gaze, the soloist easily communicated the themes that would appear throughout the dance: memory, the effect of time and the desire for human connection.
The movements of the next dance, choreographed by professor Keith Johnson, were executed with ferocious physical energy. In “Joan and Larry: Round 2,” a pair of dancers consumed the stage with the passion of the characters they portrayed: a romantic couple struggling with the peaks of euphoria and depths of turbulence that defined their relationship. The accompaniment was nearly as frantic as the imploring kisses the couple shared, and even their simple, neutral-toned costumes were an ironic contrast to the complex nature of their bond.
The first half of the show closed with guest artist Stephen Koester, Director of Graduate Studies for the University of Utah’s Department of Modern Dance. Koester’s piece, “Four Solos: Right, Left and Center,” presented four individual studies in modern dance.
Watching these solos was like watching unrestrained human emotion manifested in a physical form. The soloists commanded their individual routines with an acute display of bodily strength juxtaposed against moments of subtle grace. From the primal trembling of one dancer to the restriction of another fighting against the boundaries of the spotlight, Koester’s piece captured the various dimensions of human experience.
The highly anticipated rendition of Twyla Tharp’s “Noir,” staged by Shawn Stephens, was a mesmerizing opener after intermission. The playful tone of the piece as well as its often-acrobatic choreography gave a refreshing treatment to the traditions of film noir.
The plot unfolded to Bela Bartok’s suspenseful “42 Duos for Two Violins.” A soloist played the role of the femme fatale, and was clad in a striking red unitard in contrast to the subdued black costumes of her fellow dancers. Whether stalking the stage step-by-step, or aggressively miming the murderous act of slitting a throat, her presence dominated the ballet. She towered over a hill of bodies as the stage faded to black, formidable in her cold, villainous beauty.
The program closed with the energetic jazz number “Unfrozen Arrythmia.” CSULB assistant professor Andrew Vaca’s choreography was set to the pulsing rhythms of Madonna, among other selections, and was reminiscent of a music video. The black and silver costumes evoked a contemporary, near-futuristic feel. The simple use of flashlights as a prop gave the routine a dramatic effect, as the piercing beams of light mysteriously illuminated the faces of the dancers before boring across the audience. The non-stop transitions and exciting dance sequences resulted in a dynamic and upbeat vision for the audience.
It is easy to see why these talented choreographers were showcased in “Fall For Five.” Using the human body as a paintbrush, they created an extraordinary landscape of the human experience.
