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The Martha's Vineyard Times is a weekly publication.
April 14 - April 20, 2005 Edition
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Dance A formula for creativity April 14, 2005 By Julian Wise Photos by Ralph Stewart Clad in shimmery green (from left) Sioux Eagle, Michelle Pikor, and Clare Ives evoke the ebb and flow of the ocean in Ms. Pikorıs "Rhythmic Tides." Jilana Abrams (left) in her own composition, ³And Then Widowed,² with Sandy Broyard. Clare Ives's dance, "The Sibling Corporation," is a witty commentary on business and life. (From left) Peggy Koski Schwier, Ms. Ives, Sandy Broyard. Weit Bachellor, who has danced with Vineyard Dance since 1969, said the support the dancers give to each other is critical to the performance's success. “It’s the camaraderie and the inclusiveness,” Ms. Bachellor says. “It doesn’t matter that there are different levels of dance skills among us. The others lift us up, help us stretch our minds and confidence.” Ms. Bachellor emphasizes Bill Costanza’s guidance, saying, “He insists on us giving everything. He says, ‘don’t treat it like an exercise class. Treat it with your body and soul.’” Dancer Sally Cohn adds, “to work with Bill Costanza, to work with all of the dancers, and to be able to share this with people is a gift.” Bill Costanza praised the work of the dancers, saying, “Each one has the opportunity to not only develop technically, but to open themselves up to qualities they’d like to express within the technique. The most exciting part of the process is to watch that develop. It’s entirely unique within each one.” Ten dancers. Ten dances. One stage. This formula was the foundation for a remarkable array of creative innovation at the Vineyard Dance Choreographers' Workshop Performance last weekend. Shows took place at the Vineyard Playhouse Saturday night and Sunday afternoon. Vineyard Dance, a wellspring of movement instruction for 35 years, was founded by Bill and Kathy Joyce Costanza, who won the Ruth J. Bogan Creative Living Award recently for their dedicated work in community dance. With the Choreographers' Workshop Performance, production director and teacher Bill Costanza crafted a concise, elegant program that moved seamlessly from one act to the next. Nine of the 10 dancers choreographed original pieces, each of which carried their distinctive creative imprint. The end result was a memorable, moving evening. The performance began in darkness with Bill Costanza's “The Dancers Prepare,” as silhouettes appeared against a red backdrop. The lights came up to reveal 10 dancers moving to Middle Eastern rhythms. The entire company - Jilana Abrams, Weit Bacheller, Sandy Broyard, Sally Cohn, Kathy Joyce Costanza, Sioux Eagle, Clare Ives, Michelle Pikor, Peggy Koski Schwier, and Cathy Weiss - projected a mature serenity and technical poise as they moved through steps, bends, and arm undulations. In Kathy Joyce Costanza's “Shout In A Whisper,” set to jazzy piano notes and brush strokes, six dancers emerged to execute graceful arm arcs and carefree spins. The gentle movements evoked a rainy summer afternoon in New York City. Adding visual lushness was the sight of the dancers' red and purple outfits weaving among each other like flower petals blown across the surface of a fountain. Jilana Abrams's “And Then Widowed,” a duet with Sandy Broyard, featured the two dancers interweaving and synchronizing to a graceful piano and vocal compositions by Gabriel Yared, Elvis Costello, and Henry Burnett. At times the dancers embraced, and then they moved apart again. The dynamic interplay between the two communicated pain and solace with moving, wistful grace, as the song's words told of “the scarlet tide that divides the widowed from the bride.” “Rapa Iti,” choreographed by Sandy Broyard, had the dancers garbed in sarongs and floral headbands as they moved to the sonorous harmonies of the Tahitian Choir. The dancers mixed bold chest undulations with delicate steps as they carried out pantomimes of playful aggression, complete with simian hops and languid leg extensions. Choreographer Michelle Pikor's “Rhythmic Tides” featured Ms. Pikor, Clare Ives, and Sioux Eagle. The trio twined around each other like spring nymphs, stepping and spinning in graceful union. As the haunting, breathy vocals of singer Vienra Teng built in power, the dancers' dynamics picked up momentum, culminating in a finale of hypnotic potency that elicited vigorous applause from the audience. Sassy and playful “Eve,” choreographed by Sally Cohn, was a vivacious vignette set to excerpts from Mark Twain's “The Diaries of Adam and Eve” spoken over the barrelhouse piano riffs of Jelly Roll Morton. Michelle Pikor, clad in a red dress, contrasted with the other six dancers garbed in black leotards and red suspenders. Ms. Pikor led the ensemble through a sassy, playful narrative that retold the saga of the Biblical temptress, complete with hand and knee claps and dance moves that stopped just shy of bump-and-grind burlesque. Opening the post-intermission set, choreographer Clare Ives's “The Sibling Corporation” was a slice of social commentary set against the relaxed reggae rhythms of UB40. Dancers were divided into workers, managers, and CEOs, their identities made abundantly clear by their outfits and body language. Ms. Ives led the others through intentional, elegant movements that possessed the patient deliberation of tai chi maneuvers. The dancers wore poised, meditative expressions that evoked the eloquence of mimes. In “Be Here Now” choreographed by Sioux Eagle, seven dancers dressed in lavender gowns moved like a flock of birds in kaleidoscopic patterns. Their circular movements had the precision of aquatic ballet as they danced to Bobby McFerrin's rich a cappella vocal piece “Sweet In The Moment.” The women conveyed a powerful feminine grace that contrasted with Bobby McFerrin's rich bass vocals and tenor harmonies. Ms. Eagle dedicated the piece to Bobby Basque. The joy of dance Cathy Weiss's “Gotcha,” a duet with Clare Ives, began in silence with Ms. Ives's gentle, ballet-like movements. As clarinet notes filtered in, Ms. Weiss entered in a white dress that contrasted with Ms. Ives's black gown. The two began a series of prancing, playful movements reminiscent of classic sailors-and-dames musicals from the 1940s. The big band music and flapper moves were delightful ingredients for an energetic, quick-paced piece. By the end, Ms. Weiss had clearly won the more formal Ms. Ives over to her infectiously spontaneous dance style. Peggy Koski Schwier choreographed the evening's finale, “Primordial Link.” All 10 dancers matched delicate movements to a cinematic composition by Eberhard Weber. At one moment they pointed their arms and swirled among each other like a school of fish, while at another they moved through kata-like postures. As the last notes faded to silence, the audience erupted into a sustained round of applause. Throughout the evening it was evident that the dancers were bound by invisible filaments of mutual respect that allowed the ensemble pieces to flow with grace and energy. Support, camaraderie, and guidance Weit Bachellor, who has danced with Vineyard Dance since 1969, said the support the dancers give to each other is critical to the performance's success. “It's the camaraderie and the inclusiveness,” Ms. Bachellor says. “It doesn't matter that there are different levels of dance skills among us. The others lift us up, help us stretch our minds and confidence.” Ms. Bachellor emphasizes Bill Costanza's guidance, saying, “He insists on us giving everything. He says, 'don't treat it like an exercise class. Treat it with your body and soul.'” Dancer Sally Cohn adds, “to work with Bill Costanza, to work with all of the dancers, and to be able to share this with people is a gift.” Bill Costanza praised the work of the dancers, saying, “Each one has the opportunity to not only develop technically, but to open themselves up to qualities they'd like to express within the technique. The most exciting part of the process is to watch that develop. It's entirely unique within each one.” Julian Wise is a frequent contributor to The Times, specializing in music, film, and the performing arts.

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