On Saturday, Peabody Dance presented its 2011 spring choreography showcase, “Percussion, Live Guitars and a Dash of Hip Hop.”
Turnout was considerable to see Hopkins dance groups perform and attendees seemed genuinely excited for the event.
The performance featured new choreography from various Peabody Dance instructors, covering a broad range in styles from classical ballet to contemporary to hip hop.
The show opened with Carol Bartlett’s “Mantra,” a contemporary piece that according to the program, “explores the universality and symbolism of spiritual support.”
A lone piece of green and blue fabric was the scenery, which coupled with the lighting design served to perpetuate a natural, forest-like atmosphere.
The piece featured live music by Peabody musicians Kei Maeda, Terrence Sweeney and Georgi Videnov.
Seven dancers in flowing pink tops executed choreography with great precision and control.
Whether dancing in unison or uniquely intricate partner work, the dancers successfully portrayed the “symbolism of spiritual support” in the natural world.
Guest dancer Christine Buttorff performed as a soloist in Meredith Rainey’s “Caged,” set to a pre-recorded Ave Maria.
Buttorff’s impeccable technique and stage presence engaged the audience immensely.
Although her movement appeared limited due to her costume — an striking ankle-length, deconstructed skirt — her performance quality was in no way hindered.
Following the solo was Bartlett’s “Sunny Side Up,” another contemporary piece reminiscent of “Mantra,” featuring several dancers in black leotards, black tights and decorative green sarongs.
The piece was a welcome change from the moody atmosphere. It was a light and pleasant offering after Rainey’s heavy and complex “Caged,” even if certain formations and transitions were a bit sloppy.
Rounding out the first half of the show was Bartlett’s “East L.A. Phase.”
Quartet 218, Peabody Conservatory’s guitar ensemble, served as the live music accompaniment.
Quartet 218 performed an eponymous composition by Wayne Siegel.
The musicians performed effortlessly and with incredible skill, mirroring the technique and accuracy of the dancers.
Soloist Cyndal Gilmore opened the contemporary-meets-street jazz piece with movement, displaying expert grace and fluidity.
Three other dancers soon joined her to finish the performance with an engaging pas de quartre (quartet).
Classical ballet introduced the second half of the performance with Rainey and Laura Dolid’s “Divertissement.”
Organized into three sections, “Divertissement” featured music by Francis Poulenc, Joseph Haydn and Pyotr Illyich Tchaikovsky.
Piano soloist Soyea Moon played Haydn’s Piano Sonata No. 59 in E-flat Major, III live for the second section.
The piece not only showcased the classical ballet technique of Peabody dancers who danced en pointe, but also that of Amy Houlihan and Eric Troupe, two guest dancers from Pennsylvania Ballet II.
Peabody dancers introduced the piece with a clean, well-executed variation, followed by Houlihan and Troupe performing solos and duets.
Houlihan’s long lines and effortless facility made her a pleasure to watch.
Troupe performed an array of turning leaps and fouette à la seconde, yet his confidence level in his own dancing and technique was lesser than his partner’s.
“In the Mix, Ballet Meets Hip Hop” was a playful duet showcasing these two opposing styles.
A young ballerina (Irina Randrianarivelo) and a young hip hop dancer (Logan Paschall) collided, conversed and integrated their dance style onto the other.
Choreographed by Bartlett in collaboration with Paschall, the piece proved to be a great crowd pleaser.
Randrianarivelo conveyed all the innocence of a young ballerina through pantomime without overacting in addition to holding her own during the hip hop sequences next to Paschall’s precise isolations.
Their interactions on stage were well received and very cute.
Closing the showcase was Rainey’s “Upon the Point of Intersection.”
Set to violin music composed by Michael Nyman and featuring both Rainey and Buttorff, the contemporary ballet truly demonstrated and utilized the en pointe skill level of the most advanced Peabody dancers.
Rainey and Buttorff performed mainly as a duet, exhibiting beautiful lifts, which would have been even more spectacular if only they were held a little longer.
Peabody soloists included Gilmore, Maia Draper-Reich and Anika Richter. Draper-Reich’s intricately difficult footwork and stage presence made her a particular standout.
Peabody Dance produced an ambitious and exciting show with a variety of interwoven dance styles.
Live music and guest dancers were a great addition, but the prowess of the Peabody dancers undoubtedly took center stage.
