DANCE
BY RACHAEL CARNES
DREAMS
AND SIGHS,
WISHES
AND TEARS
Eugene Ballet dazzles with two premieres and a beloved favorite
E
ugene Ballet’s annual foray into more-contemporary
work is always a treat to look forward to, and their
performance this weekend was nothing short of
breathtaking. The program brought out rich subtle-
ties in EBC’s strong corps, and along with a familiar
favorite, featured premieres by two notable choreographers.
Suzanne Haag’s The Surrounding Third opened the
show.
Set to Barber’s mournful Adagio for Strings, Haag’s
choreography walks an exquisite line between suppressed
emotion and total dissolve. Yuki Beppu manages a great
blue fabric, aloft and windswept behind her, as she twists
with strong, carving movement.
A lighting shift reveals the rounded backs of three
male dancers — Cory Betts, Isaac Jones and Reed South-
er — facing upstage. The quartet explores oppositional
dynamics through layered canons, leaping over and slid-
ing under the fabric. The piece builds organically through
lush turns, jumps and lifts, creating a sense of tension and
resilience.
Next up, guest choreographer Stephanie Martinez pre-
miered her work, commissioned by EBC, Wandering On.
With a pulsing sharpness, the dance arrests from the
get-go, bringing into focus a gestural accessibility — a
pointed finger in the air, a palm on the forehead and on
the back of the skull.
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A poignant duet between Betts and Colton West reveals
a forlorn, playful quality, as if the two are grasping to re-
member a fading memory.
Then a section with all women — balancing and shifting
their weight — creates a picture of daily doing, the work of
life. A duet between Danielle Tolmie and Sarah Stockwell
suggests, through its relational connections and changes of
focus, the tug between caregiving and caretaking.
And Tolmie and Jones’ duet, a meditation on loss and
suffering, plays with the polarity between animation and
lifelessness.
A brash male quartet — energy passing like water roll-
ing downhill — commands attention through jumps, kicks
and sweeping rolls.
The overall work is poetic and brave, pulling from the
core. And the EBC dancers own every single moment.
Choreographer Doris Humphrey once said every dance
needs a good ending, and, boy howdy, Martinez finds one
in Mark Tucker and Sarah Stockwell’s stunning elevated
shape. Bravo!
After intermission, it was on to Toni Pimble’s A Mid-
summer Night’s Dream, first choreographed in 1987 and
danced with live music here for the first time thanks to
the hardworking musicians (and fundraisers) of Brian Mc-
Whorter’s OrchestraNext.
The Cantabile Collective, under the direction of Chris
Dobson, with soloists Abbigail Cote and Emma Rose Lynn
rounds out the multisensory offering.
But MVP goes to Betts as Puck, that rascally sprite who’s
supposed to do King Oberon’s fairy bidding, but bungles it
all in delightfully sitcom-like fashion. Betts is a shoo-in for
the role. Magnetic and athletic, he maneuvers about Peter
Dean Beck’s insanely great set with impish charm.
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eugeneweekly.com • February 16, 2017
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