[NEohioPAL]Berko review...Groundworks Dance...perfection!

[Roy Berko]

GROUNDWORKS DANCES TO PERFECTION AT CPT

	Roy Berko

	(Member, American Theatre Critics Association)

	--THE TIMES NEWSPAPERS--

	Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

     	David Shimotakahara is the inspiration behind
GROUNDWORKS DANCETHEATER.  In January, 2002 he and his
company were named as “One Of The Year’s 25 To Watch
In The Dance World” by the prestigious Dance Magazine.
 
	     Anyone who has attended a dance concert
choreographed and danced by Shimotakahara knows why. 
He is a creative and perfecting choreographer.  He is
a well-conditioned, well-trained and exacting dancer. 
Combine the two and you have greatness.  The Ohio Arts
Council agrees as they have awarded him a fourth
consecutive Individual Artist Fellowship this year.
	2 OF 2, now being staged at Cleveland Public Theatre,
which the company calls home, is a combination of a
duet of dance pieces and a set of two musical
selections.   The latter are the works of resident
Composer Gustavo Aguilar who has worked with
Shimotakahara since 1994 in developing the nucleus of
the company’s growing repertory.  As the choreographer
states, their newest collaboration explores “the
limitations placed upon us by external forces, and
those which we place upon ourselves.”
	     MIGRATION is about things in flux, the motion of
change.  It asks the question, “How far can we journey
and still be connected to a place, to each other?” It
was premiered in 2001.  
	    The piece starts with tinkling bells, then a
blending of lighted color appears, then silhouettes,
followed by movements behind two suspended blue
curtains, shadow dancing, and finally the appearance
of a male and female dancer.  He (David Shimotakahara)
and she (Felice Bagley) are dressed in sarongs shading
from green to purple.  He bare chested, she in a tank
top.  
	     The dance that follows is a synergy of flying
movements, both powerful and athletic.  The entire
piece was accomplished with little touching and static
facial expression.  The interweaving of bodies, the
sliding behind suspended curtains, often appearing as
shadows, creates a searching to connect but having
barriers that forbids it.  The sheet of sweat which
covered and shimmered off Shimotakahara’s muscular
body, while Bagley remained emotionally cool added to
the total effect.  The choreographer’s ability to
perfectly blend music and dance was evident
throughout.  Both dancers were in perfect sync during
the entire presentation.
	     ONETWOONE SO 2 and ONETWOONE SHEKERI 2001 were
the two musical pieces centered between the dance
selections.  SO2 was an improvised tenor sax and live
computer processing piece well-performed by Robert
Reigle and Phil Curtis.  SHEKERI 2001 featured
composer Javier Alvarez in a solo for live electro
acoustic and shekeri (a musical instrument which looks
like a large jar covered with colored beads).  Though
rather long due to the repeated sounds, it was well
performed and haunting.
	     In HEART AND VINE the choreographer “employs the
inherent implications of physical action, reaction and
inaction as metaphors for attempts at moving forward,
letting go, and finding rest.” 
	    The piece featured Felice Bagley, Amy Miller,
Brian Murphy, and Shimotakahara.  
     Dressed in dark colors, the dancers performed  a
series of single, duet and quad- danced segments in a
cacophony of sound and fast angular and dipping
movements.  The piece was athletic, stylish and
strong.  The stage was full of multi-emotions ranging
from the sensual intertwining of bodies in a segment
by Bagley and Shimotakahara to abandonment of control
during a highlight BeBop segment by Miller and Murphy,
which ended to rousing applause.
	     It was exciting to see Murphy finally be given
the chance to display his outstanding talent.  As a
dancer with the Ohio Ballet he was held back by having
to conform to the abilities of the weaker male corps
members.  Here, under the guidance of Shimotakahara,
and working with other talented performers, he was
allowed to use his athleticism, strong body control,
and powerful movements to their fullest.  Coupling
with the extraordinary Amy Miller allowed for a full
exposure of his abilities.
	     Danced to music provided by the ARC Libre Trio,
who moved through the dancers as they played, the
piece was both exhilarating and exhausting, if a
little long.   Shortening it would add to the
intensity.
	    The small but appreciative audience saw a
production in which the dancing and music were
outstanding.  The producers might want to consider
putting an intermission between the musical pieces. 
Breaking the music into two sections would allow each
segment to stand on its own and not blend together
into a very long interlude.
	     GROUNDWORKS DANCETHEATER is a growing entity
that needs to be nourished and treasured.  The
community needs to back this troupe so that it can
become what it should be...a nationally recognized
company.
	    The program continues at Cleveland Public
Theatre, 6415 Detroit Avenue in Cleveland on June 14
and 15 at 8 PM.  A family matinee is offered on June
16 at 3 PM with a pre-show talk and interactive
demonstration led by David Shimotakahara.  Tickets are
only $18 for general admission, $12 for seniors and
students.  The family matinee cost is $12 for adults
with a family.  Children 12 and under are $5.  For
information and to order tickets call Cleveland Public
Theatre at 216-631-2727.

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