'Drumscore' choreographed by Rex Nettleford, Artistic Director
-Winston Sill photo
Tanya Batson Savage, Freelance Writer
THE GALA opening performance of the National Dance Theatre Company's (NDTC) 42nd season of dance spoke well for the future possibilities of dance. The performances were a mixed bag of stimulating and ordinary pieces. The production is currently running at the Little Theatre, Tom Redcam Avenue, St. Andrew.
Of the five new works in the season (including a Rex Nettleford's choreographed piece from 1968) three were mounted at Friday's gala performance. With the look at the future of dance that the season presents, it is very fitting that the dance used on the programme is a slice of Millenial Beings, choreographed by budding choreographer and dancer Marlon Simms. Though this season features none of Simms' choreography it does declare him a dancer to watch.
THE FIRST DANCE
Simms makes an engaging lead with his combination of easy grace, skill and masculinity. This was clearly demonstrated in the first dance of the night, Drumscore choreographed by Nettleford. Simms, who is currently completing his Master of Fine Arts degree at Southern Methodist University, gave an even better demonstration of his skill in Keith Fagan's movingly disturbing solo, 'Intransit'.
When the term poetry in motion was coined, they probably had this presentation of 'In Transit' in mind. The dance is a haunting presentation of a man in a disturbing relationship with his chair. He needs to leave it but is afraid to go.
Another impressive talent to watch that was clearly displayed was Chris Walker's skills as a choreographer. Walker has two dances in the current repertoire, Urban Fissure and Fragile.Urban Fissure was presented on Friday.
Urban Fissure was one of the most intriguing pieces of the night. The dance suggests that Walker is not afraid of stepping outside the box and tossing it aside. Performed to a combination of Bob Marley songs and interviews, the dance takes a look at a life of urban struggle. The songs do the narration, while the choreography carries the meaning and the message. The result is a moving, painful, and sexy dance.
The talents of Deborah Powell-Valentino and Khama Phillips shone in this physically and technically challenging piece. Both dancers are whipcord thin and move with easy, studied grace that added great depth to their performances. They made a very eloquent dance so much better
Indeed, NDTC is displaying a much stronger male contingent, with Valentino-Powell and Arlene Richards (who proved her prowess as a dancer and choreographer long before) being the two females who stand away from the pack. Richard's Azure managed to live up to her standard after a relatively flat first movement. The dance then launched into a much more gripping 2nd movement that leaves a lot more than tendrils of the grass skirts as a lasting impression.
TRIBUTE
Friday's performance also featured The King Must Die, in tribute to the Haitian Bicentennial; and Pocomania. Both pieces were choreographed by Nettleford.
The NDTC Singers also performed, this time, by themselves as well as adding vocals to Drumscore and Pocomania. After being somewhat comatose for several years, last year the NDTC Singers seemed to have gasped a bit of fresh air. This year, the trend continued as they delivered a tribute to the late Coxone Dodd. The tribute featured 'Simmer Down', 'The Train is Coming Baby', 'I've Got To Go Back Home', 'Dancing Mood' and 'The Six and Seven Books of Moses'.
On the whole, the dances in the 42nd season do not smack of a milestone achievement, however, there are some very good performances, and some talented dancers and choreographers who shine.
