UL’s School of Music and Performing Arts presents its fall State of La Danse November 11th through the 14th. The show consists of seven dance pieces, plus a tribute to UL alumnus “Pi” Keohavong. Every one of them was a winner.
As “theater”, the show was excellent. There was a flow, an excitement, and a movement that grabbed one’s attention from the very beginning to the very end, even though the numbers were unrelated. The show opened with a big “theatrical number” (“Sequins and Glitter”) and then progressed to a grand finale (“Risk of Return”). In between there was drama, humor, and tons of great dancing. “Sparrow (Part I and II)” was an amazing pair of pieces which could compete with the choreography in The Lion King! Without elaborate costumes, or set, or movie-preview, the audience was transferred to Africa. Did the dance represent a hunt, a nature observation, a political statement? That’s for talking about over coffee or in the quad! What’s not open to question is that it was a stunning number! “A Wetland’s Journal” was a three-part traditional ballet … danced to Cajun flavored music (BeauSoleil and Michael Doucet). What a surprising “turn of events”there was in the plot of this dance drama! “Spirit Shelter,” an evocative piece which was a large ensemble number brought to mind religious experiences, emotions, and perhaps a Jungian recollection or two.
To this reviewer, the most moving number was “As We Lay”, a duet featuring Gracey Domingue and Wesley Mata, and choreographed by Jennifer Birou Lakampt. Stunning! With but simple props (two mattresses) a story was developed: two people sleep, they wake up individually, dance separately. Only at one point do they noticeably touch, that being a moment in which they rise from the floor held up only by their backs touching as though against a wall. Strangely, after that there is a “change” in the feel of the piece though they continue the dance separately. The number concluded with an extended dance after the actual score ended, but the piece was so entrancing the music seemed to continue in the mind. What was this dance about? Was it a “double dream,” was it a statement about human separation, was it a celebration of spring (after all the musical selection was Einaudi’s Primavera) … guess I’ll have a caffeine high from talking about that one! Whatever, it was riveting. I wanted to stand and give the number a standing ovation … but figured if I did that on the SECOND piece of the evening, I’d be exhausted by the end!
“Tech” is an important element of any show. State of La Danse had it all. Maestro Travis Johnson’s lighting added to the show, and was ever changing. I personally get caught up by lighting effects and there were many in this show: silhouetted dancers against background washes, beautifully changing colors on a background or on the dancers themselves, “rooms” created on stage with nothing but light. This lighting was dramatic! Costumes go with dance, and the ones in this show fitted each of the numbers (no pun intended). They had a loose, free flowing feel that somehow unified the seven dances. To be sure the Music and Performing Arts Department at UL has a limited and maybe shrinking budget (as does all of UL--but that is another matter for discussion over coffee or in the quad). These costumes, though, were beautifully done despite the budget. As tribute to departed UL alumnus “Pi” Keohavong was nice addition to the show, and Michael Cato’s video montage was excellent.
Those in the community interested in Dance, or just in “theater,” should take the time to get down to Angelle Hall this weekend to see the performance: Evening performances at 7:30 Friday and Saturday, and the Sunday Matinee is at 2:00. You won’t soon forget it. Kudos to all involved in State of La Danse 2010.
---Donald Voorhies
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