Angles of Enchantment, ODC Theatre December 2

13 Dec

Janice  Garrett- Charles Moulton Productions gave Angles of Enchantment its last performance December 2 at 7:30 p.m. at ODC’’s Theatre; I am grateful I made it.  What they produce exhibits an airiness of vision, a certain indefinable approach exciting and soothing at the same time.  Leaving one grateful to have witnessed a performance is no mean achievement;  this pair accomplishes  it  for one’s digestion, if you allow the  mixed  metaphor.

Angles of Enchantment utilized four dancers possessing varied  heights and skeletal frames; tiny Tanya Bello, regal  Carolina Czechowska, lean Tegan Schwab and lyrical Nol Simonse; one musician/composer Peter Whitehead, Margaret Hatcher for costume design, aided by Julienne Weston with Audrey Wright’s lighting design.  Indicative of the esteem with which the couple is regarded, three foundations and two civic-based organizations helped contribute to  production costs for this departure to the choreographers’ usual roster of performers, easily quadruple the four seen in this work..

Whitehead both sang and rendered his composition with recording, also playing a variety of instruments; said objects were grabbed by a dancer at one point, creating a little whimsy plus minor battle;  dancer would grasp instrument and be relieved of same.  Each dancer appeared in solo format and then joined in a pas de trois, pas de deux or, finally, in pas de quatre .
Spotlights shone during solos, while the lines of the dancers created shifting shapes, sometimes fleeting, sometimes sculptural; in one instance reluctant cuddly bench partners toyed with should I-shouldn’t I advances and retreats, the forms of embraces unusual for conventional come ons.

The narration and connections are largely audience-supplied, particularly when the dancers donned white costumes with de Cuevas-like headdresses and the women tutus a Nutcracker Snow Queen could envy: feathery topped skirts, pouffy underpinning, adroit blinking lights.

Fully half my enjoyment came from the sizes and shapes of the dancers as they interacted.  Carolina Czechowska reminds me of  Martine Van Hamel’s presence, an impression fortified by the strongest pointe ever seen on a modern dancer; Tegan Schwab displays an athletic-faceted silhouette, echoing my impression of the late Lois Bewley, and Simonse, he’s in his own special niche while Tanya Bello makes me understandt the acclaim of certain late 19th century Russian ballerinas.  This, of course, had little to do with what was seen, but everything to do with a roving mind in the audience.  I appreciate the chance to have such triggers.  Art is supposed to stimulate and certainly Angles of Enchantment did just that.

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