Lane Gifford’s Ballet, Translucent Moves, shone in the recent Reverb Festival. Her work stood out among other, less inspired pieces because of its mature musicality and the surprising manipulation of the set to reveal an abstract work of art. The dancing itself, though somewhat stuck in its adherence to ballet vocabulary, was lovely and deeply felt. Also worthy of note were Kate Hutter’s Passion Plays, in which a white-powdered pair colored each other with pre-painted palms, and Nelly Van Bommel’s Epilogue which embodied Vivaldi’s Concerto No. 2 in the form of rambunctious Victorian teenagers who flung themselves around each other’s necks wearing only pantaloons and petticoats. Less fulfilling, The Destruction of Chichen Itza featured two heroes who killed each other (I kid you not) at least four times. The Reverb Festival succeeded in its mission to showcase contemporary dance heading in different aesthetic directions, but the overall depth of the works presented left me wanting much more.
This article from the Village Voice Archive was posted on November 22, 2005