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DANCE TROUPE CRACKLES WITH INTENSE CREATIVITY

What better place than Utah for Another Language? A state so open to the many voices of dance can surely appreciate an earnest, intense, seeking, experimenting little company.

Indeed, Another Language seems to be in the fascinating process of exploring its body parts and passions, and inventing itself. And at a concert, the air crackles with the intensity of the effort. What they do doesn't always make perfect sense, but it matters - to them, and by extension, to you, the audience.In this loosely structured company, talented dancers are allowed to try their hand at the craft of creating dance - a far different matter than just learning steps. Such creativity sucks the life force in an artist up to the surface.

Throughout a two-hour-plus concert, I can't recall ever being bored or thinking anything was sophomoric. Each program piece led somewhere, several were provocative and a few were even gripping.

"Bleeding: Living as Bleeding: Dying" by Angie Head, featured Eleni Kambouris and Chara Huckins - the one self-absorbed in some great grief, the other offering compassion and support. Many emotions evanesced through the graceful, strong movement, in what appeared to be a catharsis, a valedictory of sorts. But was the sobbing voice an intrinsic part of Istvan Marta's music, or was it superimposed? If the latter, it was a disturbing overstatement that added a whining element to what was almost Grecian in its dignity and simplicity.

"Eglantine," a new work created and performed by Beth Miklavcic, is a remarkable multimedia piece with videography by Jimmy Miklavcic. The symbolism is of a rose, but the imagery of the dancing figure in black with tangled braids moves into mysterious, decadent and even threatening realms, suggesting the decay that lurks just below the surface of all blooming, radiant things in their prime. Beth's dancing was vivid, strong, wild and original, and loaded with memorable images.

"What?" danced by its choreographer Beth Miklavcic and Sarah Hudelson, was super-intense movement, sharply and uncompromisingly executed, whose futuristic feeling suggested the threat of living in a society filled with constant, impersonal change.

"Risoluto" by Fiona Reilly was danced with concentration just short of violence by Michael Larkin, who appeared to be bursting out of an outwardly imposed prison, only to find within himself elements that still bound him. Peter Sculthorpe's music with prominent cello solo fit this piece perfectly.

The concluding "Changes in Space" by the Miklavcics, with the full company in camouflage pants, seemed to be about the making of a banana republic, with a wry little political commentary to which the dancers made appropriate movement re-sponses.

"Perennial Rhythm" by Eleni Kambouris was a kind of etude in movement in which the theme of alienation seemed prominent. "Sarah's Piano" by Sarah Hudelson was a pert and even nippy little satire on the interplay of words, and "The President's Resignation" was a minitelevision play with some mildly amusing gags.

Another Language has taken 345 Pierpont a few steps further toward being a workable performance venue, with improved lighting, and they use the space professionally and intelligently.