BY DANA OLAND
© 2012 Idaho Statesman
Idaho Dance Theatre opened its 24th season last weekend with three pieces that show the breadth of this contemporary ballet and modern companys range.
Although missing one of its signature dancers Yurek Hansen, who left last year at the end of the season and Gonzalo Valdez, who is out with an injury, this lineup turned in a terrifically energetic performance. It also included the welcome return of the fabulous Alia Kelley.
This company just keeps getting better each season.
Co-artistic director Carl Rowes Four Characters with an Attitude opened the concert with Rowes signature rich, dynamic imagery. Six dancers skittered across the stage, primordial creatures eerily illuminated by Alfred Hansens rich side-lighting.
The music was by Idahos David Alan Earnest. The synthesized score depicted the four elements: earth, wind, water and fire, the characters Rowe highlighted in the choreography.
Earnests music used the sounds of each element as the base of its movement.
The first three movements fit together organically, bringing the characters from the ground to standing, costumed beautifully in organic colors.
Wind offered some more gorgeous moments playing with the ideas of breath as Kelley, Caitlin Stanley, Lia Marzek and Sayoko Knode moved Eric Glenn and Kaelen OShea off stage with it.
Water opened with a sensual duet by Elizabeth Hensheid with a bucket of water.
The fourth segment, Fire, departed from the organic flow of the piece and suddenly the dancers were wearing trench coats, as if in a 1940s film. It was clever and funny but didnt fit the rest of the piece.
The concert rounded out with IDTs other creative half: Marla Hansens Chakra, a piece from 2002, with six powerful movements, each inspired by chakra points on the body, to the Finnish orchestral rock group Apocalyptica and filled with Hansens wonderful talent for creating partner moves; and Rowes Rorschach, originally created in 1999, to music by Dutch composer Erik Visser.
Both pieces celebrate the companys long history of original choreography. It was especially interesting seeing two of Rowes pieces separated by 12 years to see how his work has evolved.
Dana Oland: 377-6442, Twitter: @IDS_DanaOland