RADAR Dance: Impetus
A Dance Review by Julinda D. Lewis
At: Dogtown Dance Theatre, 109 W. 15th Street, RVA 23223
Performances: March 24-25, 2018
Ticket Prices: $15 Adults; $10 Students
Info: radardance.com or email@example.com
Using the work of visual artists as inspiration, Richmond-based dance company RADAR presented Impetus, a spring concert of diverse works by choreographers Pam Gamlin, Laura Gorsuch, Elliott Hartz, Carli Mareneck, Kendall Neely, and Katherine Saffelle, [If this sounds vaguely familiar, another local choreographer, Starr Foster, recently presented an evening of works in collaboration with a series of photographs. For my review of Spitting Image, see RVArt Review, 01132018.]
The works on the Impetus program ranged from the whimsical to the intimate to the humorous. I became thoroughly immersed in the multi-layered Passages: Arising, Form, Transit, the program’s first offering, by Carli Mareneck, inspired by multiple paintings of various artists including O’Keefe and Van Gogh. The first part struck me for it unity, rather than unison, as seven women moved together as an organic unit. Oddly enough, it was not until the second section, a quartet for four women with chairs, that I became aware of the music – a soulful composition by Canadian-born cellist and composer Zoë Keating. The third section, aptly titled “Transit,” if I can take the program at face value, is what I called the running section, in which the seven women were joined by a shirtless man. The work builds naturally in layers to a very satisfying place that is more of a transition than a terminal conclusion.
One young audience member, 3 ½ year old Rowan, was quite concerned that dancer Elliott Hartz, his uncle, was shirtless. As audience members go, he was very observant, and comported himself rather well given his age.
The impetus for Katherine Saffelle’s work, Her Muddled Mind, was Etam Cru’s mural Moonshine, part of the Richmond Mural Project. The painting shows a woman bathing in a jar filled with strawberry jam. By the time I wrapped my mind around the mural and Saffelle’s duet, set to the music of Max Richter, it was over! The beautiful ending features a sudden lift and then the lights go out, and I almost wished the work would repeat so I could have time to properly contemplate. Oh yeah – it’s about societal pressures and expectations in a fast-paced world, so we’re probably not supposed to have time to think about it.
One of the most intriguing pieces on the program was Pam Gamlin’s Manipulating Time Among Mayhem. Set to the music of El Ten Eleven, Gamlin’s trio was not just inspired by Jere Williams’ sculpture, Satellite Lounge, but the dancers took turns wheeling the mobile piece through the space. Built on a lawn chair, the work includes a stove, a shopping cart, a vacuum cleaner, a bicycle, a dressmaker’s mannequin wearing a bra, a Dora the Explorer backpack, a clock, a rake, and more. Resembling an ancient peddler’s cart, the work brings up metaphoric images of baggage, burdens, never letting go of the past. The three dancers, Megan Baker, Laura Gorsuch, and Kara Priddy, executed athletic-like movements, as if prepping for the Olympian task of carrying this monument through life. I was, however, somewhat distracted by their black warm-up pants because the white piping framed their derrieres with the outline of a heart!
Kendall Neely offered the most amusing work on the program. Sorted, inspired by Alexander Pope’s Sound and Sense and set to music by Imogen Heap was “loosely inspired by” Pope’s poem. Beautifully adorned in red and black, the dancers start off with a well-regulated cadence and explores rhythm schemes and predictability.
The program also included Laura Gorsuch’s Agitation Manifests, a dance for four women and four lamps and a beautiful movement phrase that features a clapping sound produced by bringing a cupped hand to the opposite arm, and Elliott Hartz’ Current, another very brief work that explores simultaneity and connections.
The audience was encouraged to linger in a mini-gallery of the art works that inspired or in some cases was inspired by these dances. Six works, presented in about an hour and a half; unhurried, family-friendly, and visually stimulating offered a welcome weekend interlude and potentially provided the impetus for more people to partake of the local art offerings.
Again – and I cannot say this enough – one of the biggest problems with the Richmond dance community is that most performances run for only a single weekend and by the time many people hear of a performance, it’s gone! I make it a point to see as much of Richmond dance as I can, but this weekend was highly unusual. I was performing in the ensemble of MK Abadoo’s Octavia’s Brood: Riding the Ox Home on Friday and Saturday at VCU’s Grace Street Theater, K Dance opened their annual program of Shorts at Richmond Triangle Players Thursday through Saturday, and RADAR presented its Spring concert at Dogtown Saturday and Sunday. At the same time, Richmond Ballet was concluding the March 20-25 run of it’s New Works Festival.
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County.
Impetus photos by Gianna Grace Photography; photos of art work by Julinda D. Lewis