By: Nancy Ibarra Medrano
The complicated construction and thrill of a new experience charmed my Tuesday evening in front of Anderrsson Dance and Scottish Ensemble. I believe the relativity to Spring beginnings and open ventures is what elevated the performance to another level. Orjan Andersson was walking towards the stage as I was leaving and I am glad to have sputtered at least a few words of commendation.
The lure of peculiarity struck the audience in a different way during the entire performance. The program read as seventy minutes, but yet I’m led to believe differently. Two dancers were already on stage before the lights turned off and the rest of the instrumentalists and dancers joined. They rearranged the furniture and paced the floors as the audience members got seated. Every movement of a stand or chair was incremental. The placement was harvested surely from an extraneous rehearsal required for these variations in music and dance choreography. The thirty minutes set apart to ensure the correct placement down to the inch hinted at the beginning of just how connected each body on the stage was. The support in safety and care was especially crucial in a piece with sixteen performers.
The comical nature of the imaginative choreography made its viewers take note of the direct measure of notes and movement. Each variation of the pairing expressed a unique message. The choreography delivered many experiences that involved the viewer in every transition. The cheerful tone of the ensemble’s classical contribution facilitated a welcoming environment for a no boundary performance. The most outlandish, but deliberate movements kept me guessing for what was to come next. The casual nature of the dancer’s appeal on stage was also contrary to the expectations set by the classical music played. The severity was fractioned even more so when the dancers began to change into a lively, Spring colorway. The surprising movements and stories told on stage reminded the viewer of their ability to re-create a playful outlook on routine experiences. The interactions with props instilled even more togetherness within the group. The enjoyment created by the manipulation of simple objects allowed the audience to take this performance with them even outside of the theatre.
One thing that I found Orjan Anderrson executed impeccably was the use of dance and the body as an instrument. The slaps, snaps, and pops of each and everyone of the performers added all the more flare to the atypical collaboration. Through this detail, the instrumentalists were contributing in the exact same way as the dancers. I appreciated the consideration made in the total composition.