CHICAGO DANCE MEDIUM
It would come as no surprise to Isadora Duncan that these third- to fifth-graders–like all youngsters–display an innate gift for expression through movement. The kids’ hearing impairments (which vary in degree) are never apparent as they perform with the company in A Falling Piece, a Piece Falling. On the contrary, they exhibit an impressive sense of timing and equanimity, responding to their cues like pros.
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One of three works on the program choreographed by Doolas, this is a captivating exploration of modes of falling. Across a darkened stage, children and adults take turns skipping or shuffling along a slender shaft of light projected on the floor. Grinning with obvious delight, a boy leads the group in well-timed runs and falls. Stretching and yawning luxuriously, the children mirror the dancers, eventually “falling asleep.” Throughout the piece, the children exhibit what artistic associate Timothy Buckley calls “a natural gift for uninhibited movement.” A boy slowly extends his leg, arms outstretched to balance, then twists, smoothly repeating the series of steps. The part of the score by Laurie Anderson verbally reinforces the falling theme. While several dancers and children sign the words to her “Walking and Falling,” others recite along with Anderson.
Guest artist Anthony Gongora’s choreography in ComePile arose from structured improvisations with the company. Vivid, multicolored costumes enhance the sharp arm slices and angled body positions of the piece. Dancers jump into the air, executing quick hip circles. Moving in groups of three, the dancers melt into the plie, curving arms and contracting until they resemble birds of prey. Two dancers hold a third (Miller) between them on tensed, outstretched arms. We are surprised when, in an instant, Miller deftly somersaults over their arms. Gongora successfully combines a strong score with forceful choreography, in the well-crafted style we’ve come to expect of his work.
