Judging from the capacity crowds filling the deJong Concert Hall for a concert of modern dance, this division of BYU's dance program must be doing something right. It is, and it showed exactly what it's doing right in its annual three-night "Dance in Concert."
It's impossible to witness a a program like this without coming away with the clear impression that these dancers truly love what they're doing. And the enthusiastic audience Friday evening also loved what they were doing.The concert started off on a high note with the premiere of Marilyn Berrett's "Sanborn et al.," an exuberant piece in the break-dancing mode. Members of the Dancers' Company displayed the verve and vitality that have become their hallmark.
Kathie Debenham's clever combination of classical ballet elements, body wit and comical facial expressions made for an audience favorite in "Once Upon." The romantic music of Haydn provided the background for Pat Debenham, Roxanne Smith and four chairs.
By contrast, "My Sister Beside," newly choreographed by Lisa Arbon, was in a more serious mood. I had the feeling that this dance was intended to be far more synchronized than it looked in Friday's performance. The premiere of another new work by Gigi Ballif Arrington, "Picturesque," was costumed in bright colors and set to lively Cajun music. However, it was not exactly received with wild applause, even though it was a good effort.
Les Ditson's own 1979 piece, "Empty Window, Silent Wind," was almost monotonous in the first part, but picked up interest in succeeding portions featuring his controlled, understated movements. Credit should also go to his wife, Mary, whose piano music was an important part of the piece.
"Doo Wah Girls," a spoof on backup singers in '60s-style shifts and identical face masks, got the audience in the mood for Keith Johnson's recently choreographed "Sad Clown." The exaggerated flourishes of the magician, the anguish of the tormented man offstage, and the clown whose smile is only painted on were served well by Pat Debenham's talents in pantomime. However, the narrative portion was too loud.
Gauzy draperies, special lighting and the sounds and rhythms of the jungle set the scene for the final number, Caroline Prohosky's new "African Nightfall." The agility, energy and pure love of movement came through as the Dancers' Company moved toward the near-frenzied ending and the hall exploded with applause.