Edge of the Sky L-R Camryn Pearson, Courtney Jefferies, Julie Russel & Paige Robinson – Courtesy of Lora Olive. Used with permission.
There was significant anticipation and excitement in the air at Indiana Repertory Theatre prior to the Friday performance of “New Horizons,” that opened the 51st season of Dance Kaleidoscope on the OneAmerica Stage. The concert was the maiden voyage of Joshua Blake Carter who was appointed DK artistic director in July after David Hochoy, artistic director emeritus, retired after 32 years. Not only was it Carter’s debut as DK’s new creative head but also an opportunity for audiences to see a concert consisting entirely of his choreography. I had a notion of what to expect, having interviewed Carter previously here, but seeing it live was quite another thing altogether. Ultimately, I found Carter’s work not only fresh but dauntless in style, form and execution.
Mothertongue – Julie Russel & Camryn Pearson. Courtesy of Lora Olive. Used with permission.
The company, appearing stronger than ever, included several new dancers who added dynamism and musicality that was noticeably apparent. The rookie ensemble members are Bo Brinton, Courtney Jefferies, Camryn Pearson, and Gion Treichler.
Act I opened with dancers Holly Harkins, Marie Kuhns, Camryn Pearson, Paige Robinson, Julie Russel, Gion Treichler and Manuel Valdes in “Mothertongue” (2009), with music, reminiscent of Philip Glass, by Nico Muhly. To visualize the preciseness of Carter’s movement that it is set to it, a description of Muhly’s composition is required. Ethereal in flavor, the electro-acoustic music, mixes genres and features singing voices with language as a unifying thread. The total effect was disconcerting yet intriguing. Original lighting design was by Vance McKenzie with redesign by Laura Glover. Costume design was by Shuana Hinton.
Next was “You + Me” created by Carter in 2015, starring Julie Russel and Cody Miley in a sensual, yet fiery pax de deux danced to the music of You + Me,” a Canadian American folk duo. Russell and Miley not only conveyed passionate chemistry but also effectively demonstrated considerable dramatic skills. Lighting design was Laura Glover and costumes were by Terri D. Moore.
You + Me – Julie Russel & Cody Miley. Courtesy of Lora Olive. Used with permission.
Concluding the concert’s first half was Carter’s world premiere of “Edge of the Sky,” set to music by Max Carter, featuring James Yorkston and Jon Hopkins. Once again, reflecting Carter’s penchant for precision and the distinctive nature of his interesting shapes and ingenious architecture, his accelerated choreography was compelling. and simply eye-popping. The piece was performed by the entire ensemble which consisted of Bo Brinton, Adrian Dominguez, Holly Harkins, Courtney Jeffries, Marie Kuhns, Vivien Mickels, Cody Miley, Camryn Pearson, Paige Robinson, Julie Russel, Gion Treicher and Manuel Valdes. Lighting design was by Laura Glover and costume designer was Terri D. Moore.
Act 2 shined a spotlight on “Kim,” Carter’s monumental work that premiered in 2017 in Chicago, Carter’s previous home base. The artist’s eight-part biographical tribute to his mother, Kim, was summed up in a quote in the program that read “The wound is the place where light enters you.,” words attributed to Rumi, the Persian poet of love and mysticism. Based on Carter’s personal experience, the moving, and ultimately uplifting piece, featuring the ensemble, told the story of his mother, who separated and then divorced his father following a thirty-year marriage and her subsequent recovery and renewal.
Infused with frenetic energy, the eight parts, all sporting different titles, and set to separate pieces of music. included “A Losing Game” — “Autum Leaves” by Nat King Cole, “Boiling Point” — “Under” by” Ellen Allien and Apparat, and “Begin Again” — “Make Me Lovely” by Laura Myula.
For “Kim.” a stark atmosphere created through the use of white spots, was devised by lighting designer Jared Moore and adapted by Laura Glover. Providing Carter’s provocative work with a gender bending quality was his costume concept of black suits worn with white shirts, a device that figured prominently in the piece’s narrative of Kim’s evolution.
In its totality, “New Horizons,” Carter’s official DK and Central Indiana debut, was an ideal representation of what we can expect from an inventive artist whose vision and urbane sensibilities will surely contribute to building on DK’s reputation as a leading contemporary dance attraction. I, for one, can’t wait to see what the future holds under Carter’s intrepid direction.
For tickets and information about Dance Kaleidoscope’s 2023-2024 season visit dancekal.org.
