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The press release very accurately called one of the dances a "meditation on randomness and unpredictability," a description that I felt applied to both dances, which were similar in vocabulary, mood and style of expression. Vencl's dance vocabulary is balletic, tho performed barefoot, with extensions, turns, jumps. The dancers' faces were basically expressionless; sometimes they seemed to be in a dreamlike state, and emotions were demonstrated in their movements. They often moved companionably in pairs, side by side; other times they supported one another in leans or bends; one walked aggressively up to another dancer and stamped her feet, as if to express anger or to get attention; there were occasional heavy collapses to the floor; at other times they were competitive with one another.
The ending of the second piece was a surprise. One dancer stood with her back to the audience, as if exiting the space, and another approached the stander and gently placed her hand on her shoulder. A very tender, unexpected move, as if to say that despite all that we feel, we can come together and show love.
Vencl did stay true to her theme of randomness and unpredictability, and the dancers were well directed and performed with commitment. Though expressive through the movements, I felt little individuality or personality from the dancers, however, and therefore found it repititious and less than engaging.
Venci's technical staff did her proud: the excellent lighting was provided by David Glista, and costumes were by Sarah Thea, whose creations always move well, are cleverly designed, and flattering to the dancers.
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