Online Only: Rice Dance Theater's creative fall show, Points of Contact

By Erika Kwee     11/19/11 6:00pm

To watch "Points of Contact," Rice Dance Theater's fall performance, is to experience an array of human emotion without ever having to leave your seat. From the mischievous and cheeky "Clementine Ain't Misbehavin'" to the giddy "Live it Up," from the showy swing dancing in "Great Balls of Fire" to the melancholy longing of "I Wish," the choreography weaves wide and varied stories.

 

The props used in the dances are as innovative as the choreography. From a large armchair in "It Never Began" that transforms the stage into an eerie, abandoned living room to the straws, coffee cups and water bottles in "Bag Ladies," which by the end of the dance litter the stage. In contrast to the pervasive silence of the previous dances, "Isolation" adds an unexpected dimension of meaning with a speaking piece spliced into the choreography. The raw light on the vulnerable, single speaker elicits goosebumps as the other dancers whirl around her. Her carefully chosen words clarify and bring into focus the meaning of the flowing movements surrounding her.

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The costumes are fabulous and well-complemented by the lighting in many of the performances. "Clementine Ain't Misbehavin'" immediately evokes an old-time era with long skirts, curled hair, and proper, almost stiffly precise movements. In the beginning of "Attack and Decay for Three," the three figures of the dancers seem indistinguishable in the dark lighting; however as the darkness lifts, you can begin to see the differences in their dress and the intricacies of their bursts of rapid, then languid movements.

 

"Live it Up!" utilizes the radio hit "Good Life" by One Republic to great effect. The visually stunning explosion of movements in the beginning epitomize modern dance. Outfits of sunshine-yellow skirts and white shirts perpetuate the celebration of living this good life through skillful, energetic dance moves.

 

My favorite performance of the night was "From Within," choreographed by fifth-year chemistry Ph.D.-candidate Dorianne A. Castillo. The group of 10 dancers — the largest in the entire show — proves to be both the strength and weakness of the performance. The group emanates wild energy as they whirl in sync, all clad in loose, wide-legged pants with high slits and animal-print tops. Despite the clearly well-practiced dance, the large volume of dancers lends itself to some out-of-sync movements. Still, the overall performance is visually stunning, with great lighting effects that transport the dancers from daylight to moonlight and back again.

 

I am always impressed by the fact that these students, who walk around by day in the guise of normal classmates, transform so radically into leaping, whirling dancers in the magical lighting of the dance theater. This year is no different. Yet the originality of prop use and the risks taken with the choreography, costumes, lighting and movement merit special attention for "Points of Contact."

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