Reviews
CrossCurrents
Some shipping of personnel has given CrossCurrents a slightly new look, but Saturday’s concert at the Jack Guidone Theatre showed that its essence as a versatile modem dance company remains undisturbed.
In the group’s season opener, three works – “Lifeline,” “Outside In” and “Dreamtime” – represented its staple of modern fare. A bevy of lithe young women cycled deftly through a series of more or less abstract evolutions. As usual, a selection of tasteful musical scores lent depth to the performances. “Leashlessness,” a solo danced and choreographed by Sarah Lowing was more eccentric. Inspired by her dog, this comic piece contained many sharply crafted sight gags. Lowing, who danced in every number, has the unusual ability to use her limbs like carving tools, slicing vivid lines through space.
Left to right: Allison Fieirabend, Ted Freeman, Donna Iriarte, Sarah Lowing, and Heidi Bickey perform “In the Heat of the Jungle”
“In the Heat of the Jungle,” (pictured) a premiere choreographed by Helen Hayes, was more provocative. This reverse-gender “Rite of Spring” featured Ted Freemen and four women, with a drum-heavy score by Chris Isaak. The dancers were still tentative; the work, which seems to call for a certain wanton fire, will clearly be a strong piece.
“White Dream: Recurring” choreographed by Cathy Paine, was the evening’s strongest offering. First Lowing, a nightmarish bride, floated around the stage to Pachelbel’s Canon in D. Then Allison Feierabend, in a blood-red gown, delivered a triumphant sendup of a diva. Next, Debra Kanter donned a pair of toe shoes that acted like training wheels on a kid’s new bike. Finally the trio appeared to gather, to a delicate Carl Sandburg poem for little girls.