Parsons Dance is eclectic yet accessible in Harriman performance - Visually arresting by way of incredible physicality, dynamic lighting and eclectic movement vocabulary, Parsons Dance is a proudly accessible modern dance company. Its debut performance Saturday night in the Muriel Kauffman Theatre of the Kauffman Center for the Performing Arts marked the company’s 11th appearance as part of the Harriman-Jewell Series.
Kansas City native David Parsons, co-founder and artistic director of the company, selected a representative overview from the company’s wide repertoire for the evening’s program. All choreography was by Parsons. The lighting design, an integral part of the performance, was by Howell Binkley.
Parsons dancers, shown here in a publicty photo, performed Saturday at the Kauffman Center for the Performing Arts
The program opened with “The Envelope” (1984). It’s a fun, goofy piece that follows the journey of an envelope as it is alternatively discarded and sought, rejected and fought over. The bombastic bravado of Rossini’s operatic scores contributed to the humor. The dancers, wearing black hooded bodysuits and sunglasses, examined the envelope with birdlike curiosity, their chests sunken, framed by elbows akimbo. A male soloist with strong-shouldered carriage executed broad, gangly turns, at odds with the other dancers’ twitchy gestures.
This was followed by two pieces set to music by Kenji Bunch. “Slow Dance” (2003) was elegant, limpid. Three couples, staged in a dusky block of light, sinuously wrapped around each other. Delicate melodies from piano and violin rose and entwined in an arced structure; the dancers emulated with twisting corkscrew turns which ended with a raised arm. The piece was capped, though, by a coda of sharply accented phrases.
“Swing Shift” (2003) had a similar sonic pallet, but was contrasted by warm lighting, velvety red and peach costumes and driving, pulsating rhythms. The steps were reminiscent of traditional social dances of ballroom, Latin and swing. Fiery duets, an articulated solo by Sarah Braverman and inventive transitions created a stunning, abundant visual feast.
Parsons’ newest piece, “Portinari” (2011), was dedicated in memory of Richard Harriman, the founder of the series. Set to Samuel Barber’s “Adagio for Strings,” it was the most theatrical piece of the evening, a Pygmalion tale of a painter whose work comes to life, though the duet was stagey and had some uneven transitions.
“Caught” (1982) is a stalwart of the repertoire and an audience favorite. It featured repetitive electronic layering from guitarist Robert Fripp. Soloist Steven Vaughn appeared suspended in air through a series of jumps captured in strobe-light, his vigorous performance leaving the audience, too, gasping for breath.
A party atmosphere ended the evening with a tribute to Milton "Nascimento" (2003). The Brazilian musician’s breezy, wordless singing inspired a joyous work of athletic leaps and tosses, exuberant heel clicks and loose-bodied turns with wide-swung arms. ( kansascity.com )
Kansas City native David Parsons, co-founder and artistic director of the company, selected a representative overview from the company’s wide repertoire for the evening’s program. All choreography was by Parsons. The lighting design, an integral part of the performance, was by Howell Binkley.
Parsons dancers, shown here in a publicty photo, performed Saturday at the Kauffman Center for the Performing Arts
The program opened with “The Envelope” (1984). It’s a fun, goofy piece that follows the journey of an envelope as it is alternatively discarded and sought, rejected and fought over. The bombastic bravado of Rossini’s operatic scores contributed to the humor. The dancers, wearing black hooded bodysuits and sunglasses, examined the envelope with birdlike curiosity, their chests sunken, framed by elbows akimbo. A male soloist with strong-shouldered carriage executed broad, gangly turns, at odds with the other dancers’ twitchy gestures.
This was followed by two pieces set to music by Kenji Bunch. “Slow Dance” (2003) was elegant, limpid. Three couples, staged in a dusky block of light, sinuously wrapped around each other. Delicate melodies from piano and violin rose and entwined in an arced structure; the dancers emulated with twisting corkscrew turns which ended with a raised arm. The piece was capped, though, by a coda of sharply accented phrases.
“Swing Shift” (2003) had a similar sonic pallet, but was contrasted by warm lighting, velvety red and peach costumes and driving, pulsating rhythms. The steps were reminiscent of traditional social dances of ballroom, Latin and swing. Fiery duets, an articulated solo by Sarah Braverman and inventive transitions created a stunning, abundant visual feast.
Parsons’ newest piece, “Portinari” (2011), was dedicated in memory of Richard Harriman, the founder of the series. Set to Samuel Barber’s “Adagio for Strings,” it was the most theatrical piece of the evening, a Pygmalion tale of a painter whose work comes to life, though the duet was stagey and had some uneven transitions.
“Caught” (1982) is a stalwart of the repertoire and an audience favorite. It featured repetitive electronic layering from guitarist Robert Fripp. Soloist Steven Vaughn appeared suspended in air through a series of jumps captured in strobe-light, his vigorous performance leaving the audience, too, gasping for breath.
A party atmosphere ended the evening with a tribute to Milton "Nascimento" (2003). The Brazilian musician’s breezy, wordless singing inspired a joyous work of athletic leaps and tosses, exuberant heel clicks and loose-bodied turns with wide-swung arms. ( kansascity.com )
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