Boulder Ballet Reveals Lance Hardin's Choreography to Michael Schulze's Music

In "On The Move" Boulder Ballet (this weekend, February 19, 20, 21, 2010) presents three new works set to music by three contemporary composers, and by two choreographers. The three music scores are totally fresh and different, as are the dances Peter Davison and Lance Hardin set to them. The fact that the works are embodied by nine very proficient dancers makes for a entertaining evening.

"On The Move" opens to "Avenues of Influence" set by Davison to a 1963 sonata for violin and piano by Julliard composer John Corigliano, and billed as work of "choreography and scenic design." Set in front of, and around, three huge crimson hangings, in turn in front of a white backdrop, the work uses eight dancers in everything from large, kinetic ensemble to subtle solos and duets. The music, and dance - performed en pointe by the six women involved - are in four parts, and Davison's choreography takes on most aspects of the music much of the time. That music varies from high density and dynamic to subtle adagios, as does the movement Davison chooses. Not until the third section do Davison's movement choices begin to show serious inventions, which he uses to build characters and relationships amongst the dancers. Duets danced by Katelyn Burgess and Stephen Straub, and by Jennifer Aiken and Rob Kuykendall are dramatic and salient parts of the character development. The "scenic design" involves the crimson hangings, which are used minimally, but effectively.

"Social Dances," set by Lance Hardin, on the same eight dancers as "Avenues ... ," to music composed by University of Denver's Lamont School of Music's Michael Schulze, is a stunning contrast to the opener, both in the music and the way Hardin uses it. Schulze's score, also in four parts, consists of electronic tones of huge variety, that in every section become incredibly articulated in huge dynamic, and in tempos that vary from slow to almost light speed. Hardin's movement choices are often set in traditional ballet motif - the six women again en pointe - which creates a wonderful contrast to the totally contemporary music score. Often Hardin makes no attempt to embody either Schultze's dynamic, tempo, or articulation, bringing his dancers into sharp counterpoint, even to the point of stillness. The results are most satisfying, as is a duet danced by Straub and Annalise Woller. In that duet Straub's timing and strength allow Woller to shine, and her absolute trust that he will "be there" gives her leave to dance full out.

"Rounds" set by Davison to yet another diverse music score by University of Colorado/Boulder Dance Division Music Director, Jesse Manno, provides a third facet of both dance and music. Davison has set the work on the same eight dancers as used in the first two works, and added himself. Manno's score uses layered voices in ways reminiscent of Bobbie McFerrin, and Davison uses the dancers and balls of varying sizes and colors in unique choreography similar to that used with various props when he performed with AirJazz. Both Manno's music score and Davison's choreography contain nuances that give this work a performance life.

"On The Move" will be performed twice more in Boulder, Colorado's Dairy Center for The Arts Performance Space - Saturday February 20th at 8:00 PM, and Sunday at 2:00 PM.

Donald K. Atwood

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