Unlike larger cities like New York or Chicago, St. Louis doesn’t have too many professional dance companies. In fact, many St. Louisans may not even be aware that there is a quite strong community of professional dancers here. While going to a dance concert may not be at the top everyone’s hot list of weekend plans, dance-lovers in the city know where the pros are hiding out.
Now in its 35th Season, Modern American Dance Company, also known as MADCO, is one of St Louis’ oldest dance groups. I paid them a visit at Touhill’s Lee Theatre Oct. 7 and 8 for their original show titled “Pulse!” While they could have easily rested on the laurels of past work, MADCO, led by Artistic Director Stacy West, ambitiously set out to create something truly fresh with this performance. With almost all-new choreography, MADCO doubled its efforts towards a unique performance by collaborating with UMSL’s Music Department and Director, Matt Henry. The entire program was performed to live accompaniment composed and or arranged by talented university musicians.
The opening piece, “dancer + musician,” choreographed by guest artist Alcine Wiltz, nicely set the tone for the evening. Based on West’s belief that a dancer is not brought to life until he or she hears the “pulse” of the music, this piece brought several musicians briefly out of the audience’s peripheral vision and onto the stage, which created a concrete visual of the relationship between the two art forms. It served as a good introduction to the contemporary style and sound technique of the dancers without being overly complicated. The next piece on the bill, “Junk Garden Remix,” choreographed by the dancers and inspired by Ross Winter’s “Junk Garden,” offered more intricate choreography that incorporated partnering, lifts and onstage costume changes.
As members of a company that is a major representative for modern dance, MADCO dancers have the ability to transition between dynamic lyricism and aggressive power in movement quality. It would be great if they were always on the same page as a group. Particularly in this piece, some dancers took a softer, more suspended approach while others attacked each movement. Individually, everyone looked great, but the overall effect could only be stronger and more impressive if they all had the same understanding of effort.
The program continued with “Rebounding,” choreographed by dancer Claire Hilleren. In this piece, one male and one female dancer were suspended from harnesses while a corps of two men and two women danced with and around them. The suspended dancers swung, spun and flipped with incredible strength, while maintaining remarkable attention to technical positions. Their ethereal presence could have easily been distracting if the other dancers had not been given equally interesting choreography, or were not so sound and impactful in their own performances. Taking my eyes away from the gravity-defying dancers, I noticed all four cleanly landing pirouettes together—not an easy feat. The contrast between the earth-bound dancers and the suspended offered not only a stunning visual, but also an artistic merit that opened the piece for interpretation—if you could look beyond the cool aerial aspect, that is.
The next two pieces, “Groove” and “Journey,” both choreographed by dancer Lindsay Hawkins, showcased the versatility of the company. While “Groove” was gestural, jazz-infused and a delight as each dancer infused character into their performance, “Journey” was a work of serious art, clearly well-rehearsed and brilliantly choreographed. The all-female cast brought both a strength and transcendent quality as an ensemble with clarity of vision and meticulous attention to detail. The show closed with “Play or be Played,” choreographed by Keith Williams. The dancers really seemed to put everything on the table in this fun, sexy and athletic piece.
I would have wished for a few more solo moments throughout the show, particularly in “Groove.” While MADCO has an incredible treatment of choreographic tools for group numbers such as stage formations and pattern, a solo piece or duet would have broken up the look of one large company piece after the other. These are technicians and performers that can hold their own, so it would be nice to give a few the chance to individually shine. Plus, it would have made it easier for me to pick a favorite!
Overall, the show varied between strength, humor and beauty, while maintaining a blend of age-old technique and creative innovation. All of the technical elements of the show, from costume to lighting design, were well thought-out, supporting and never distracting from the concepts and tone of each piece individually. Where the dancers are so strong in their similar styles and technique, the show itself was full of such range that, just as with the dancers, I don’t think I could pick just one as a favorite.
My wish for St. Louis is that people become aware of the fact that dedicated dancers and companies do in fact exist in this city. There is a reason why some companies stick around, keeping professional dancers working in St. Louis, and bringing an exciting and dynamic art form alive for new audiences. When it comes to MADCO, the secret is officially out.
— Jessica Ruhlin, ALIVE Scene Team
Photos by Steve Truesdell courtesy of MADCO
