About the Company :: Reviews
(re)flex
'(re)flex' action keeps audience on its toes
by
Kendall
Klym,
Austin
American-Statesman, June
16,
1999
A quality, full-length contemporary dance piece performed to live music on a sizable stage by a six-person pick-up company that makes its presence known perhaps once a year?
Sounds like the biggest anomaly one could imagine in the world of dance. Not so when it comes to Ariel Dance Theatre, performing "(re)flex'' through Sunday in the former Covert Buick showroom on West Fifth Street in downtown Austin.
The work, choreographed by Andrea Ariel, accompanied by the Golden Arm Trio and set to a video and light show, pulsates like an aftershock of a substantial earthquake. Filled with raw and refined energy, along with plenty of creativity and meaning, the show is a must-see for anyone interested in progressive dance with a kick.
The work focuses on the interplay between personality and instinct. Purposely repetitive in a kitschy mechanical sense, (re)flex delves deep into the psyche, unabashedly exploring the different meanings of the word (re)flex
Rather abstract for the more traditional at heart? Not in the least. All you have to do is sit back, check out the cool, fast-moving video projections, listen to a pleasant convergence of piano, electric guitar, drums and saxophone, and enjoy the well-rehearsed, talented group of dancers who know how to express just what it means to be human.
For example, Ariel, clad in a mock leopard-skin leotard, flexes her muscles, throws her arms and legs into the air while maintaining a purposely arrogant demeanor. Despite her small frame and stature, she successfully epitomizes the macho body builder who hides behind muscles and gains attention by stomping around. The reflex reactions of others: either to retreat or fight back.
Wielding a parasol and a sultry variety of skimpy spandex costumes, Teresa Tipping epitomizes the feminine persona, with a heaping helping of cheesecake. An acrobat par excellence as well as a world-class dance technician, Tipping tips the scales, causing the balance of relationships among the other performers to suddenly fall by the wayside with her knock-'em-dead looks, moves and energy.
Also worth noting is Ellen Bartel, who plays the quintessential bunhead ballerina, with clean lines, flowing extensions and neurotic personality traits. When Bartel and Tipping come together in a short but effervescent duet, opposing actions and reflex responses become pleasingly intertwined.
Perhaps the only disappointing aspect of the show was the lackluster performance of Dixon Mena -- a Don Juan sort of character who might capture the hearts of all if only he would tighten his muscles and show a little expression. He seems to care too much about accomplishing the correct moves and not enough about putting on a show.
Yet, the other dancers are adept and motivated enough to hold the work together like a rock, and the choreography strong enough to withstand a touch of erosion.
A work that should be remembered for its powerful, meaningfully creative choreography and inspiring, energetic dancing, (re)flex will unearth the creative reflexes of all who come to see it.
Dance review
(re)flex
When: 8 p.m. Thursday through Saturday; 3 p.m. Sunday
Where: Former Covert Buick building, 501 W. Fifth St.
Tickets: $10-$12
Information: 454-TIXS Illustration: Jose Medina
BYLINE:
By
Kendall
Klym
DATE:
June
16,
1999
PUBLICATION:
Austin
American-Statesman
(TX)
EDITION:
Final
SECTION:
Lifestyle
PAGE:
F8
Copyright (c) 1999 Austin American-Statesman
photo by José Medina
