Dance Kaleidoscope; Indiana Repertory Theatre; Oct. 16-19
DK dancers delivered spirited spatial interpretations of music from Spain, Mexico and Cuba, moving deftly through a range of emotions, social situations and observations of landscapes and cityscapes. Joy, angst and supplication prance through David Hochoy’s counterbalanced, swiftly altering choreography to Joaquin Rodrigo’s “Concerto de Aranjuez for Guitar and Orchestra.” Angular tango shifts into and out of curvilinear body pictures, creating tension and continuity for a different perception of “the evocative spirit and beauty” of Spain, evoked equally through red and gray tie-dyed leotards. Especially noteworthy is Hochoy’s attention to entrances and exits of exquisitely daring grace and beauty. “Canciones,” set to four “mariachi” songs as sung by Linda Ronstadt, is danced in traditional costumes of Mexico. Personalities and situations surface through partnering, corps work and solos sometimes in concert with each other, sometimes mixing tempos and body lines, but always building drama. Tito Puente’s familiar “Ran Kan Kan” dissolved into salsa showmanship in Hochoy’s “Fire” (from The Four Elements). Throughout these company pieces, new members Carly Whitehead and Zach Young and new apprentice Morgan Williams seamlessly fit in, and “older” company members seemed willing to take risks with higher, stronger leaps, catches and spins. Jillian Godwin especially “dared all.” Caitlin Swihart delivered artful whole-body connectivity to her foot-in-cast and crutches, set to Puccini’s “O Mio Babbino Caro.” George Salinas’ fancy footwork evoked the sound and character of a woodpecker intent on satisfying his hunger. Salinas’ choreography to traditional music is based on traditional Mexican folklorico. Lighting and costumes, as always, were noteworthy.