Saturday, November 06, 1999
DANCE REVIEW
Parsons' troupe still fast, inventive
BY CAROL NORRIS
Enquirer Contributor
David Parsons' dancers move faster and better than most people dream of. Taking a cue from his mentor Paul Taylor, he choreographs as if someone's chasing him.
At the Aronoff on Friday, Mr. Parsons presented one of his best Taylor imitations with “Closure,”a 90-mph whirlwind. With seven performers in black pants and net tops, he gave a hard edge to Tony Powell's dynamic score. Arms arced heavenward and feet moved in fast skips.
When his company appeared here three years ago, Mr. Parsons was still traveling and performing with the group. Bum knees now keep him off stage. He's turned most of the road duties over to associate Jaime Martinez and his presence is missed. As good as the company looked, they looked better when he was with them. He's a confessed demon to work for and the company needed his sharp eye.
I'm thinking of “Anthem”in par ticular, a visually spectacular work. Set to the symphonic sounds of a Shelly Palmer score, it's a study of individualism. With huge, colorful flags waving, nine dancers in military garb begin a patriotic, somewhat orderly dance.
By the end, they've lost the flags, loosened the military jackets and found a new, less straight-backed way to move. There were moments of less-than-precise moves and the flagpoles banging as they hit the floor offstage surely weren't a part of the score.
Mr. Parsons has also let go of his total hold on the choreography by inviting company member Robert Battle to create three short works. “Strange Humors”is weird for sure, as two men — shirtless in orange calypso pants — are either half-drunk or having a bad dream after too many rum and cokes. The Latin-flavored moves are over the top and wildly entertaining. I loved it.
Mr. Battle's “Takademe,” to the voice and breath of Indian singer Sheila Chandra, could be a day in the life of any normal, harried, overworked, overstressed individual. His “Rush Hour” takes John Mackey's industrial sounds and matches them with mechanical moves. Robotic and tightly wound, dancers in gray work clothes moved like machines. All his works showed a wildly creative mind.
The packed house of 400 loved Mr. Parsons' “Sleep Study” to Flim & The BB's. With the stage as their bed, the cast tossed, turned, twitched, rolled and bounced in a humorous take on a subject near to us all.
His popular “Caught” never fails to bring on the applause. Mr. Martinez begins the solo by moving from one spotlight to another like a giant bird getting ready for flight. When the lights go out, he begins to be seen in the flash of a strobe light. His leaps and runs are visible; his landings are not. It's a trick, but a wonderful trick that probably every choreographer in the country wishes they had invented.
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