Author: Philip Gardner

Above: dancer Kathleen Caragine in Water Study, photo by Steven Pisano

~ Author: Oberon

Sunday November 24th, 2024 matinee – Francesca Todesco’s company Dances We Dance presenting ACQUA, a program of danceworks inspired by water. This evening’s afternoon’s was a performance that celebrated sisterhood and helped ease the after-effects of a painful recent election, in which women’s causes that seemed set to flourish under a Harris administration now seem destined for setbacks in the years ahead.

Above: the ensemble in Water Study, photo by Steven Pisano

The program presented a set of dances inspired by or alluding to themes relating to water, which – since the earliest beginnings of dance –  have evoked or reveled in this essential element. From the rain dances of the ancient tribes to Chris Wheeldon’s After The Rain… and Caterina Rago’s Alta Marea, water has been a constant source of inspiration in the dance community.

As part of this exploration, the audience today experienced the re-staging of Doris Humphrey’s renowned 1928 choreography Water Study, performed by a cast of 11 dancers under the direction of master teacher Gail Corbin. This was preceded by a showing of Isadora Duncan’s 1905 piece Water Study, which has an improvisational feeling. As staged by Francesca Todesco, this opens to the sound of dripping water.

As music of Schubert sounds, the lights slowly come up to reveal the dancers prone on the floor. Wearing blue/green costumes, they slowly rise and – as projections of the sea appear on screen – they come and go, executing fleeting steps and creating waves of movement suggesting the ebb and flow of the sea. A Schubert waltz sounds, and the dancers assume an ecstatic pose.

Above: the dancers in Doris Humphrey’s Water Study; photo by Steven Pisano

Silence falls as the Humphrey piece commences: the kneeling dancers awaken, the sound of their breathing hangs gently on the air. One by one they rise. Forming opposing lines, they race towards each other like tempest-tossed waves converging. They run en masse from corner to corner, as if crashing against sea walls. Standing, they sway from side to side to the sounds of their own breath. Then they fold into kneeling poses and the ballet ends as it began. Kudos to Ms. Corbin for bringing the fascinating work to currency. 

Above: from Catherine Gallant’s Wave; the dancers are Colleen Edwards, Rosey Gentle, and Kathleen Caragine; photo by Steven Pisano

The next three works were finely contrasted but they had one thing in common: each was so visually and musically enjoyable that they felt too short!     

Wave, a 2001 work choreographed by Catherine Gallant, is an homage to Isadora with a contemporary touch. Three dancers – Kathleen Caragine, Colleen Edwards, and Rosy Gentle – are posed in a pool of light at the start. To the sounds of a Chopin mazurka, these beauties dance nobly and expressively in tunic-like costumes. They collapse and rise, evoking visions of Wagner’s Rhinemaidens, their faces are at once youthful and ancient: a sisterhood of goddesses. As the light fades, they return to their opening pose.

Above: choreographer Catherine Gallant in an iconic photo

I was ever so happy to see Catherine this evening; I felt reassured after speaking with her: now more than ever we must be there for one another. I told Catherine of the beautiful “Isadora” photo I have of her on my bookcase shelf (above); I can look up from my desk all thru the day and see her in that ecstatic pose.

Above: from Crosscurrents; the dancers are Jada Alfred, Marley Poku-Kankam, Autumn Rodrigue, and Alana Averett; photo by Steven Pisano

Crosscurrents, choreographed by Hannah Howell, brought forth four lovely young ladies, each with a distinctive personality. To a wonderfully weird and quirky score by Angel Bat David, the dancers create movement patterns and dance in diagonal formations. The sound of the clarinet takes over – I love it! – and standing in a line up, each dancer has a brief solo. The music is incredibly evocative, it sings of solidarity. The stage becomes sun-drenched as the dancers fall and then resume their initial pose. 

Above: Lana Hankinson in Tidal Pool; photo by Steven Pisano

Tidal Pool, set to deeply lyrical music by Yumira and choreographed by Rae Ballard, was danced by a quintet that featured Mlles. Caragine, Edwards, and Gentle joined by guest dancers Lana Hankinson and Lauren Naslund. The gentle flow of the dance created a sense of quiet serenity whilst the music evokes a luxuriant feeling of peace. Nearing the end, Ms. Naslund walks slowly forward center-stage while one by one the other dancer cross her path and depart, leaving her alone onstage with an expression of quiet wonderment. I’ve always been an admirer of Ms. Naslund, more so today than ever. Her calm beauty has the enviable gift of timeless grace. 

Following the interval, Francesca Todesco’s brand new Cherchez La Femme (above photo by Steven Pisano) was danced by Mlles. Edwards, Gentle, and Caragine.These three women have developed into artists of high quality, thoroughly comfortable and assured onstage. Each has something personal to say, making their dancing really fascinating to watch.

Colleen Edwards (above, photo by Steven Pisano), so impressive in the Gallant piece earlier in the program, was riveting here. As the Todesco trio commenced against a golden backdrop, the white-clad Ms. Edwards stood in the light, casting her shadow. She is joined by the other two, and shadow-play becomes a part of their movement.

Ms. Edwards has the first solo: each character has a name, and she is Simonetta. To softly cascading piano motifs, her dancing is truly mesmerizing. She rushes about the space and finally withdraws as Ms. Gentle, clad in red as Camille, enters frantically, as if being pursued…she immediately collapses. A questing search and a plea reveal her desperation. Rising, she appears hesitant, as if seeking something…or someone. To music of Chopin, the search becomes a plea. Ms. Gentle’s dancing seemed to reveal her heart and soul to us.

Now we meet Artemisia: fair of face, Ms. Caragine’s black hair sets off her expressive eyes; she moves beautifully, with a ballerina’s poise, as the steps and gestures flow on the music. The trio re-unite, Ms. Gentle now back in her white frock, as the dance moves to its finish.

Here are more images from Cherchez la femme, photos by Steven Pisano:

Rosy Gentle

Kathleen Caragine

Mlles. Edwards, Gentle, and Caragine in Cherchez La Femme 

Above: Francesca Todesco in Memories; photo by Steven Pisano

Ms. Todesco then took the stage alone to premiere a new solo choreographed by Rae Ballard to the always welcome music of Astor Piazzolla. Entitled Memories, this solo finds the dancer clad in severe black with black pumps; she seems like a widow, alone in her grief, recalling happier times The music has a lamenting feeling and becomes quite lush; a hint of a tango is woven in. Francesca’s innate musicality, with her expressive hands and face, creates a mood of longing. At times, she seemed to be dancing just for me.

Above, the sirens of Haunted Echoes: Colleen Edwards, Margherita Tisato, Kathleen Caragine, and Rosy Gentle; photo by Steven Pisano

Closing the program was a newly commissioned work choreographed by the beloved former Paul Taylor star Annmaria Mazzini. This is Haunted Echoes, set to musical collage which propels a dance of the sirens – bewitching creatures all in sea-green. Drifting about the space, they pause to sing their alluring song. A big beat springs up and the dancing turns wild. And then the music becomes a bluesy lullaby, and the dancers drift off, a sisterhood lost at sea.

On an evening that meant a lot to me, it was especially nice to greet the inimitable Jim May, who I’d only met once before, many, many moons ago at a Sokolow rehearsal. Tonight, it felt like a reunion of long-lost brothers.

Performance photos by Steven Pisano.

~ Oberon