I'm too tired to write much about the performance tonight, but it was definitely worth seeing, and I enjoyed it very much. I was somewhat disappointed in the creative aspect of it - I kept seeing interesting concepts and thinking how much better it would have been had they been explored in depth. I also noticed certain things that reminded me very much of Alwin Nikolais' work, 30 years ago, except not as inventive.
It was fun trying to figure out which choreographer might have choreographed which sections. I saw parts that reminded me very much of Moses Pendleton's and David Parsons' choreography (I've never seen Daniel Ezralow's). I'd like to find out who did what and see whether I was correct. My brother thought the opening section was by David Parsons, because the effects with the lighting reminded him of Parsons' Caught
The section that worked best for me was the four men trying to gain possession of two stools. Besides thinking that it was the best developed piece, I liked seeing the dancers doing something other than floor exercise, namely pommel horse moves. The black light sections also worked for me.
The sound score by TTG Music Lab was energetic but not memorable. Burke J. Wilmore's lighting design, however, contributed greatly to the success of the presentation.
I got a chuckle when the audience first reacted to something with a mass "whoa," because all it was was two people doing a series of fast cartwheels. This is the equivalent of a ballet audience being amazed by someone doing simple pique turns. It looks flashy, I guess, but I was thinking, "Come on, even I
was able to do that!" However, what it did point out to me was how nice (and how much more interesting) even mundane movements look when performed by two or more people in unison (the Entrance of the Shades in La Bayadere
is a good example).
In the company I was in, the real gymnasts (ex-gymnasts, actually) of the group were in their late 20's, and had had enough injuries that they were very careful to perform so as to minimize impact on their bodies. For that reason, we danced on gymnastics mats covered with carpet. For most of tonight's performance, I thought the gymnasts were performing on a regular stage floor, and I concluded they must be very young, because that would be punishing their bodies. But in the finale, which didn't have lighting patterns on the floor, I could see the floor give during the tumbling, so I knew they were performing on a regular gymnastics spring floor, and I was very relieved.
Despite not meeting my quite high expectations, Aeros was exciting and beautiful, and I have no reservations about recommending it. I tried to check ticket availability for the Sunday matinee at Zellerbach, and got a "code (4)" message, saying that tickets were not available on line at this time. I couldn't find out what code (4) is, so I don't know whether that means the performance is sold out or just that you can't order tickets online. My seat tonight was in the last row in the balcony, the only place in the cheap range where tickets were still available yesterday. There may have been seats elsewhere, but it looked sold out.
I have more comments, but I'll wait. Here's a link to the Aeros website
<small>[ 19 January 2003, 04:49 AM: Message edited by: djb ]</small>