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Greetings, All. It has been some time since I last put finger to keyboard for this site. Sometimes Life gets in the way.<P>Last night a friend and I went to see "Contact" at the Curran Theatre in The City (that would be San Francisco, for most of you). Overall, it was a very enjoyable night. I was not won over by all of the segments. In fact, I was working my way towards disappointed when the intermission came.<P>"Swinging," the first act, is based on the painting called "The Swing" by Jean-Honore Fragonard. Judging by the gasps coming from the woman sitting next to me, this was a bit more bawdy that she anticipated. I wonder if she really pays attention to Shakespeare's plays?) At any rate, there is a small twist at the end, which, with the ribald sound effects, keeps it light-hearted. I liked the performance well enough, but I did not find it compelling. No. Not every piece needs to be deep, dark and compelling; but considering the rest of the show, it just did not quite fit in for me.<P>With the second segment, "Did You Move?", I thought the woman next to me might go into a coughing fit. You see, the "F-Word" gets bandied around with great consistency. The setting is a Bronx restaurant in 1954. The story is about a woman who is trapped in an abusive/domineering relationship and only finds solace within her daydreams (those being to dance and frolick with the restaurant patrons and staff). Again, the dancing was enjoyable, but the piece seemed to run a touch long. And I did appreciate the ending, though, at first, my friend did not.<P>By and large, all the print that I had been able to read about the show, including the show's own program, focused on the third piece, "Contact." And with good reason...this segment really stands out. More to the point, Holly Cruikshank, as "The Girl in the Yellow Dress," pretty much walks away with show. As my friend, who is female, noted after the performance, she made that dress do things dresses don't normally do. If you were to have stopped the show and asked me, I doubt I would have been THAT cohesive. Regardless, it was very sensual and very powerful. Before I forget, a great performance by Alan Campbell as the depressed Ad Exec.<P>Beyond my libido and male perspective, this piece had two things going for it that I really, really enjoy: good swing-revival music and great swing-styled dancing. Barring one musical missed-step, Royal Crown Review and Squirrel Nut Zipper will always garner my praise. Make good use of the tunes, which they did, and I am sold. The story ends just a bit saccharine, but, heck, it's a fairy tale.<P>The newspaper article I read said that the choreography had been altered to fit the shape of the Curran's stage, as compared to where it played in NYC. It would be curious to compare the two for differnces. As I said, a very enjoyable night, not seamless, but still enjoyable.<P>Like I said, it has been a long while since I have contributed. I just thought I would throw out this tidbit.<P>Still the Rogue Wolf,<BR> Bob/Red<P>------------------<BR>"Learn from the Past.<BR> Prepare for the Future.<BR> Act in the Present."<BR> -the Rogue Wolf<BR>
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"Learn from the Past.<BR> Prepare for the Future.<BR> Act in the Present."<BR> -the Rogue Wolf<BR>
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