Full Steam Ahead 

'No Hesitation' whatsoever for Idaho Dance Theatre

Idaho Dance Theatre's 20th season continued last weekend with No Hesitation, which included three compelling and provocative premieres and one revival.

"Ocean's Dreams" by co-artistic director Marla Hansen, evoked the siren sea legend and was followed by the return of "To Be Loved," four duets depicting various stages of romantic relationships. These were a balanced contrast to the futuristic "Turning, Turning, Turning," by IDT alumna Jennifer Freeman, and to "No Hesitation," the modern power-punch finale by co-artistic director Carl Rowe.

The rollicking three-quarter rhythm of the four-movement "Ocean's Dreams" was set to the soaring vocals and drumming of Natasha and Marina Pikoul, Russian twin sisters. "Lost at Sea" opened with swaying masts that unfold into female dancers. "Footprints in the Sand" found men intrigued by the seductive movements of figurines from an ancient Egyptian vase. "Sirens" was a vivid impression of sea creatures emerging to entwine the men in a web of arms and legs, but the final "Body Surfing" was a joyful spring dance with bodies flowing over bodies, concluding with Caitlin Stanley repeatedly hurled spout-like into the air.

Five songs by Tracy Chapman formed the story line of "To Be Loved," four pas de deux and one dance for the cast. The most poignant of the pas de deux, "Should Be Happy To Be Loved," expressed the predicament of unrequited love. Dancer Kaelen O'Shea clung to Alia Kelley, who was drawn in but pushed painfully away.

Set to the music of Wax Tailor, Urbs, Parov Stelar and Bjork, Freeman's "Turning, Turning, Turning" explored dualities such as individuality vs. conformity and competition vs. cooperation as barefooted dancers walked, ran, broke away and returned.

"No Hesitation" was an execution of myriad musical and physical motions in three pieces scored by minimalist composer John Adams.

The dancers milled about freely before and between the sections, but when the music started, the action was relentless. Shifting in rhythm and key, accompanied by changes in movement and light, the work grew with such fury, the two pianos threatened to implode. At the end, the dancers stood, panting and smiling, accepting the shouting, standing ovation.

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