Works 2019 – Celebrating 10 Years and Counting, Saturday, October 19, 2019
Nancy Evans Dance Theatre celebrated its 10th anniversary this past weekend at ARC Pasadena with a concert of work that was both a broadening of horizons and an honoring of a deep, rich history.
The performance opened with an impish (should I say Tongue in Chic?) exploration of legs titled Are These The Legs You Are Looking For? The scene was a dim, dusty ancient boutique with half-mannequins originally intended to showcase the latest in fashionable trousers. We romped musically from the 40’s to the 70’s with a foray into a noir soundscape by Henry Mancini. This work was a choreographic collaboration by the members of the company, who explored space and time, dancing with mannequin legs and each other. The dancers were clad in black from the waist up and white below for most of the piece, including black hood/helmet masks so that faces were not visible. That was the first of many surprises, each of which was fascinating.
Nancy Evans Dance Theatre – Are These the Legs You’re Looking For? – Photo by Shana Skelton
Without faces, the dancers truly became dancing bodies. The nuance, the expressiveness, the humor all came from the choreographic choices. Seeing upturned legs, apparently detached from a body, with coyly twisting feet brought soft chuckles from the audience. The business of rolling on the floor was a different experience with these disembodied legs. Seeing sets of 3 legs per person when each dancer moved with one mannequin leg was a kaleidoscopic pleasure.
Nancy Evans Dance Theatre – Are These the Legs You’re Looking For? – Photo by Shana Skelton
The next big surprise was the appearance of a trio clad in gold, with gold fringe from shoulder to ankle, on pointe, accompanied by Donna Summer’s Hot Stuff. The disco era took a hard left turn, to great effect. The dancers were also hooded and masked (in gold), so the personalities came purely from the movement. And there was plenty of personality.
A key figure in this work was a pair of pants, wide legged, and empty. I found myself thinking of fashion trends of the past that reawaken in a new generation. You could shop through this collection of legs for hours, listening to old tunes, until as the final song said, you’re in my arms again.
The second half of the program had plenty of faces, and facial expressions. And they were all part of choreography that told stories without anyone acting a part. It was pure dance, married to deft musical choices. The stories were so different it is almost hard to imagine them in one program. Each gave us a taste of the human condition, and each was danced powerfully.
Nancy Evans Dance Theatre – Episode 8 (Conditioned) by Nikolaos Doede – Photo by Shana Skelton
Episode 8, choreographed by guest choreographer Nikolaos Doede, took us to the present future, where all are entranced by a bright screen, dulled and cold. Passions writhe in a remote corner, where we must fight to tear away and join life.
Nancy Doede in “Mae” – Photo by Shana Skelton
Mae, choreographed and performed by Artistic Director Nancy Evans Doede, was a tour de force. In a few minutes, Nancy lays bare the soul of a woman tormented by the great depression and her role as a waitress in a café by Route 66. We also see her towering strength. I can’t wait to see more of this dramatic story.
Nancy Doede in “Mae” – Photo by Shana Skelton
The finale featured the premiere of Sleep, choreographed by Doede. The entire company appeared onstage clad in simple pajamas, accompanied by fine tango music. The opening sequence began the exploration of sleep – that essential component of health, happiness and dreams.
Nancy Evans Dance Theatre in “Sleep” – Photo by Shana Skelton
The dancers reached up from the floor, with all the weight that comes with rising from a deep sleep, but once they rise, attend briskly to the business of starting the day. We progress through various stages: restless agitation; deep sleep with languid rolling and stretching, and returning to repose. At times the dancers do their own business of sleep, and then roll into a clump together. Pajama pieces are shed at the start of each section, taking us through a coherent sequence that ends with a sun salutation at dawn, animated faces and a sense of freshness.
Nancy Evans Dance Theatre in “Sleep” – Photo by Shana Skelton
Everyone in the audience was feeling their own bed, from childhood fussiness at bedtime, remembering dreams and nightmares, to sharing this precious space with a partner. The sweetness and mirth of recognition was palpable.
The work of this company honors a choreographic heritage of deep artistic merit. The dancers have a broad range of training, and have embraced the aesthetic of the German school.
That sensibility is abundant – dynamic movement, nuanced expression coming from the use of the body as an instrument, depth of connection to musical or sound accompaniment.
Nancy Evans Dance Theatre in “Sleep” – Photo by Shana Skelton
This evening took us from disembodied parts to whole people, from angst to giggles, and from our typical day to a magical one.
I want to see this company performing on a larger stage, with an audience to match. They deserve it, and the Los Angeles audience needs to see them.
The company members include Katrina Amerine, Company Manager/Dancer; Noel Dilworth, Dancer; Ashleigh Doede, Associate Artistic Director/Dancer; Jen Hunter, Dancer; Jenn Logan, Executive Director/Dancer/Artwork; and Karina Francis Jones, Dancer
The Lighting Designer was Azra King Abadi; Angie Vaughn, Lighting and Sound Operator; and Videography was by James Van Leer.
Written by Mary Pat Cooney for LA Dance Chronicle, October 23, 2019.
To visit the Nancy Evans Dance Theatre website, click here.
Featured image: Nancy Evans Dance Theatre -” Are These The Legs You Are Looking For?” by Nancy Doede – Photo by Shana Skelton
