Performing Arts: Dance
November 12, 2016
Serene and sensual, Kate Weare's choreography employs contact improv elements -- a kind of physical call and response – built on top of strong contemporary dance structures. Men and women in flowing tops and loose pants by Brooke Cohen, drop and swing open arms, stretching backs into long planes expanding the liquid flow. Dancers are framed by Clifford Ross’ scenic design of a tall windowpane looking out on darkness and clouds.

Figures form silhouettes against Mike Faba’s atmospheric lighting scheme that highlights body edges and adds to the meditative ambiance established by Curtis Robert Macdonald's musical score being played live.

At one point, a woman taps a man's chest and they shift into a sinewy duet. His torso curves over her touch, and they connect in a fluid trajectory that is echoed by the man at their side. Over and over, movements form and dissipate inside two or three dancers working in tandem. The movement’s arc skips for the central actors to the outer perimeter.

There are no edges. Curves, swings, and easy dips space out in curved lines. At one point, two women face each other and run in opposite directions, never turning away until one fades into the wings. Again, simple and suggestive, the shape- shifting patterns draw the eye then let it float around until another, unassuming human figure commands undivided attention.

The talented members of the Kate Weare Company include Julian De Leon, Kayla Farrish, Douglas Gillespie, Thryn Saxon, Ryn Rouland Smith and a sterling Nicole Diaz.
EYE ON THE ARTS, NY -- Celia Ipiotis

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