There can be few places where the college dance scene is so well worth watching as in Salt Lake City. Indeed, it's not safe to miss seeing the University of Utah apprentice companies, to discern trends, evaluate progress, and see who's coming up.
Performing Dance Company enjoys an enviable reputation among collegiate groups. And while each year the company's makeup is different, there's never a time that there isn't something worth watching, something provocative and worthy.An exceptional entry this year is "For Us All," a premiere piece choreographed by PDC artistic director Ford Evans, which is perhaps his best work to date.
The theme is grief, and the piece is as deep as the human experience, with a pathos which apparently we are never too young to feel; the large student cast rises to the challenge with fully developed maturity.
The dancers face back, into the light, with a slight breeze stirring diaphanous, loose clothing. They are swept by tides of emotion that move them this way and that, they sink to the floor or rise to their limits with graceful dignity.
Soloists emerge, duos, even a foursome, adding point to the work, which remains nonetheless a skillful and moving manipulation of large forces. John Duffy's lighting is expert, and the minimalist music of Philip Glass fits ideally.
If Evans' piece has clarity and order reminiscent of Humphrey, Phyllis Haskell's "Shadows" leans toward the theatricality of Nikolais, understated though it is. The shadows, clad in gray and masked in white, haunt soloist Angela Banchero Kelleher persistently and eerily, as she retraces life experiences, then moves on into the future, standing on their backs.
The movement is fleet and well-designed, and Jon Scoville's varied electronic score heightens the drama, as does Nick Cavallaro's striking lighting.
Lightheartedness marks the rest of the program, which begins with a repeat of "Family," a clever choreography by Shapiro & Smith. Family members disport themselves about a big red armchair, displaying a surprising amount of character and personality as they nonchalantly scale the sturdy furniture with acrobatic verve.
"Spontanius combustien" by Jacque Lynn Bell is a zany, high-spirited workout for three waifs in baggy bib overalls, who toss off many a sparkling entry, enhanced by John Duffy's special lighting effects.
"Calligraphy" shows off both the choreography and dancing ability of graduate student Miguel Azcue, in a duet with Chara Huck-ins. Though they seldom touch, the sensuous sparks fly in this peppy, south of the border dance.
Completing the program is "Hungry Folk Tales from the Viennese Bakery," a premiere by Diann Sichel, featuring fractured fairy tales with many sight gags, and more than a few cliches. Outstanding is Azcue's wolf-about-town, and Goldie Lox the mer-maid, wiggled by Dawn Robinson. Costumes by Ching-Yi Ma and Tamara Cobus add to effect of European circus.