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Sonia Dawkins Prism Dance Theatre - Vibrant Dynamic Works review
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A collection of modern dance pieces choreographed by Sonia Dawkins (and guest choregraphers Michael Rioux and Pilar Villaneueva) , this production sets forth a variety of styles of dance, music, and emotional expression. Friday night’s performance consisted of six dances depicting everything from flowing water to intense anguish, and ending with a mischievous tribute to Broadway.
According to choreographer Sonia Dawkins, “My work is inspired by a curiosity about the cultural dimensions of dance, and expresses the artistic, social and political dimensions of human experiences. . . . My choreography focuses on the use of explosive power, rhythm, quickness, the clarity of intention . . . . I [help] dancers recognize and connect with spiritual and aesthetic energies of different cultural dance movements. The outcome is the intense expressions of form and feelings. Thus, our audiences are better able to think, feel, learn, and enjoy the experience along with us.”
I’d have to agree. Aided by skillful use of lighting, costumes, and music, each dance drew me into its ambience. The dancers themselves are exquisite with their perfect physiques, accomplished technique, and expressive acting skills, and are a joy to watch.
After being introduced by Sonia and her tap dancing friend Alex, the show begins with “Watercello,” featuring dancers in blue costumes and the sound of flowing water, and gentle, flowy movements. The mood is changed abruptly in “The Introduction,” which has music reminiscent of nails on a chalkboard, and a solo female dancer (Audrey Pugh at the Friday evening performance) performing tortured, jerky movements. “Bath of Tears” also depicts the agony of heartbreak, but adds a quirky touch with a background screen showing cartoon-like slides of words like “Crash!” and “Pop!” and a cartoon heart. The piece features a male and female soloist miming a doomed relationship. It is the most sensual of the performances, as they wind around one another in unusual ways, and the dancers carried me with them as their emotions evolved.
Act 2 opens with “Linkage,” featuring a chorus line of sorts: male and female dancers dressed in utilikilts and tank tops (one man topless), performing choreography that links and unlinks them. Floor level lighting adds an eerie effect. This piece reminded me of Fritz Lang’s 1926 movie “Metropolis,” a futuristic depiction of a city divided into working and elite classes: the dancers here are the working class. The music consists of drumbeats and the sound of metal pounding on metal, like machinery. The choreography itself is machine-like, with the dancers moving jerkily, in and out of formations.
“Entrapment” features male and female soloists (guest dancers Batkhurel Bold and Meredith Webster) dancing in a box (a set piece consisting of three walls, open in the front), still wearing the utilikilt outfits. They dance around skillfully within that box until they eventually break out. Finally, in what was probably my favorite dance of the evening, the entire ensemble performed “Radio Broadway.”
The music is a medley of show tunes; at various points one of the male dancers comes to the front of the stage to turn an imaginary radio dial. When he stops on a tune the rest of the dancers join in and do a number to each song. This dance is mischievous and entertaining, and a perfect way to end an evening of creative and beautiful images.
Thank you, Sonia, and your dancers, for making modern dance accessible and enjoyable for everyone.
Dancers: Kalab Elmore, Kyle Johnson, Melissa Marth, Chloe Mollis McBride, Brendan Philip, Audrey Pugh, Lisa Reinbold, Emma Sanford, Amber Weiss. Guest Artists: Batkhurel Bold, Eric Hipoolito, Alex Jackson, Meredith Webster.
Additional performances Saturday, June 27, at 2 pm and 7:30 pm at Seattle Repertory Theatre, Leo Kreilsheimer Stage. Another production, “Dance This” will be presented on Saturday, July 11 at the Paramount Theatre. Visit www.soniadawkins.com for further information and tickets.
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