Jordan Lee Wyatt and Richard Dell in Tony Wilson's 'Streams', which premiered during the 17th anniversary season of dance.
Neil Hamaty, Gleaner Writer
THE COMPANY'S final performance of their 17th anniversary season of dance concluded on Sunday September 25. It was a scintillating night of movement, colour and vibrancy.
I was first exposed to The Company seven years ago when at that time members were a fledgling troupe of dancers and though they exhibited great promise then, their technique was still rough around the edges. It has now been five years since I have seen them perform and they truly have come, in the words of a famous Virginia Slims advt., "a long way baby".
From their significantly smaller home on Waterloo Road (with an even smaller stage), the Little Theatre provided the perfect platform on which they literally spread their wings. The performance Sunday night was nothing short of spectacular and illustrated what single-minded determination blended with raw passion can achieve. The Company's signature style, which is a fusion of techniques inspired by Martha Graham and Alvin Ailey, a strong ballet component, melded with Afro Caribbean movements and rhythm (historical and contemporary), has formed a pot-pourri vision of dance, which is uniquely Tony Wilson. The additional contributions from guest choreographers such as Barbara McDaniel, Oneil Pryce and Arsenio Andrade have enhanced the depth and range of the performances.
FLUENT AND EFFORTLESS
What impressed me the most is that the dance vocabulary has lost much of the lisps and stutters (which were sometimes painfully obvious in the Company's early years) and is now fluent and effortless, without appearing practised or learned. It has literally become a part of the dancers, as fluid as the wind. With very few faces that I can remember, the Company has taken on an infusion of fresh talent who are themselves remarkable; it became difficult for me to pick out any one dancer as the performers are now moving as a whole. I am hardly the greatest expert in dance, but it became difficult for me to pin point anyone who was struggling along.
There were, however, those who shone. Sade Bully moved with the grace and elegance of a swan, but with a power stunning for a dancer seemingly so delicate. Alando Terrelonge, principal dancer, rendered an emotive solo in the second movement of 'Who-So-Ever-Will' (back dropped by 'Jah Mercy' composed by Katalys) dramatically portraying our collective cry to God for mercy in a Jamaica teetering out of control. For me it was not just dance, but theatre as well.
It is to the credit of Tony Wilson and his cadre of choreographers to choose music which reaches into the very depths of the human experience. From ebullient joy to heartbreaking despair, to transcendental praise, music complemented motion to explore the gamut of human emotions. In 'Introspection' a thunderous applause to the celebration of life, the dancers raised the roof with a vibrancy and energy which was soul stirring as it was thrilling. In 'Fusion', reminiscent of a Picasso painting, choreographer, Shelly Ann Maxwell, takes the audience on an exciting and innovative journey into illusion, using swaths of fabric stretched taunt across the stage behind which the dancers combined art and form to boggle the mind and deceive the senses.
In 'Calabash' I saw the kaleidoscopic nature of the Caribbean people in all our wonderful diversity.
The only cloud over the evening was the unduly long set changes between the pieces, which could do with some tightening up, but overall, it was a wonderful night out. Mention must also be made of the costume design, which was superb.
The Company executed a stellar performance Sunday night and is to be congratulated and encouraged, not only on how far they have come, but on how far they are destined to go.
It is thrilling to see that in this small nation beleaguered by crime and despair, our creative spirit refuses to be stifled; there is room for all of us and it is this writer's prayer that the established Company will continue to mentor and encourage a new generation of choreographers whose creativity will flow into the repertoire of artistic excellence that is already to be found on the rock.
