In her new piece, ReSound, Shirley Mordine says she’s focusing on “how we hear the individual voice.” To that end she’s created solos for four dancers she knows well–all of them started working with her about ten years ago–and placed them in the context of a group, which might challenge or support the individual. But no one exists in a vacuum–not even Scott Putman, the soloist who’s present in ReSound only on videotape. He does his solo twice in the same Park District field house, but one performance is caught by a stationary camera at a distance and the other by a moving camera up close–essentially videographer John Boesche danced with him. Putman has a cool, self-contained presence as a rule, but Boesche’s second, chaotic vision of him captures the effort and the imbalance implicit in movement that only appears effortless. For me, a lot of the interest of ReSound is seeing Mordine’s loving portraits of dancers I’ve also been watching for a decade. Krenly Guzman has developed an almost regal air, perhaps in response to his extreme sensitivity (Mordine says that in this piece he’s “sensing multiple worlds”). Always delicate, Pam McNeil here seems painfully vulnerable: she keeps falling and flailing and getting caught, but we’re not sure if she’s being helped or trapped. And Dardi McGinley Gallivan, a lioness of a dancer, is Mordine’s “beast,” her exemplar of the potential of power. Dave Pavkovic composed the original score. Also on the program are Mordine’s Jump Cuts, with a multimedia environment by Boesche and music by Lloyd Brodnax King, and I Haven’t Heard From You…, set to Mozart. Opens Thu 11/4, 8 PM. Through 11/6: Fri-Sat 8 PM, Dance Center of Columbia College, 1306 S. Michigan, 312-344-8300, $20-$24. Note: Mordine discusses her work Friday at 7 PM, and the company offers a FamilyDance workshop and matinee Sat 11/6, 2:15 PM, $10 adults, $6 children.
Art accompanying story in printed newspaper (not available in this archive): photo/William Frederking.