Works in the Works 2010

My Hands/Tus Brazos

Linda Bair and Jorge Luis Morejon.  Linda Bair Dance Company

Works in the Works 31 aniversary was presented by Choreographers' Performance Alliance and 8th Street Studio Berkeley on Saturday, Novemeber 20th.  The event was hosted by Nina Haft.  Project Director: April C. Taylor, Theatre Director: Jim Beatty, Stage Manager Bret Hitchcock and Videographer Sophia Alberts-Willis.


Review by Heather Desaulniers



Linda Bair Dance Company
Presented by Choreographers' Performance Alliance and 8th Street Studio, Berkeley, CA
November 20, 2010

In the past two years, I have really made an extra effort to see works-in-progress. Whether in a rehearsal setting, in a previewed excerpt or at an informal showing, I have come to realize that these opportunities are invaluable. Critics are with choreography for such a short duration - even if you see the same piece multiple times, the cast, staging or venue are likely to be different, thus, making the piece different too. Being present for the process of dancemaking is such a different experience; an intimate gift that provides unique insight that the finished product alone may not.

The "Works in the Works 2010" program offered the chance to see five dances at various stages of growth: "H₁" (Abigail McNally/A Mused Collective), "My Hands/Tus Brazos" (Linda Bair Dance Company), "Banksy's Children" (MeND Dance Theater Company), "What Is It About Memory?" (Jetta Martin), and an untitled work performed by the San Francisco State University Dancers, choreographed by Ray Tadio. The breadth, diversity and quality of the work is something that all the choreographers (and this long-running festival) should be proud of.

I did have favorites among the group, the first being Linda Bair's "My Hands/Tus Brazos", a modern piece that delved into the reality of a relationship, emphasizing the dramatic and less-happy interactions that we try so hard to hide. We saw Bair and partner Jorge Luis Morejon (both seasoned performers) running around each other, forcing affection, and controlling movements and reactions. Though the angst was predominant in the duet, there were also instances of tenderness, particularly a number of cantilevered, off-balance poses which could only be accomplished through communication and working together. My only critique of the work is that we were told prior to the dance what it was about and what the choreography was trying to say. This wasn't really necessary; give the audience the chance to reach its own conclusions. Another highlight (for me, at least)

Dance Commentary by Heather Desaulniers

http://www.heatherdance.com/