ANNA WYMAN

CELEBRATING A DECADE OF DANCE

THE ANNA Wyman Dance Theatre celebrated
its “Decade of Dance” last week with four popular
and highly characteristic selections from their

repertoire.

Anna Wyman “visually
conceives’ dance about
bodies, matter pushed by
energy through space. The
bodies are not necessanly
human, and this can be the
most effective or disenchan-
tung element in her com-
pany's performances.

Case in point is her 1976
work, “Deflection”. The first
offemng of the evening, tt
proved to be something of a
disappointment “Deflec-
on” has members of the
company dancing as bodies
bouncing off other bodies in
vanous combinations. With
yageed., non-rhythmic
crescendos of music and
cold hghting, for such a
piece to work requires im-
maculate aruuiculation by the

dancers and = good syn-
chronization.
But they) started cold,

wavered, fell out of synch.
and the piece dragged. In-
dividual peformances
weren't bad, a solo by one of
the dancers glowed tn com-
parison.

Flawed human _ beings
have a hard time producing
the clear, physical images
Wyman calls for

The one exception was an
imtial image of a dancer
braced inside a tnangle. or-
biting the stage. The dancer
communicated all the beauty
of the

perfect geometric
form reeling in space But
the rest of the piece
degenerated into increasing

ly confident dancers secing
what they could do with
large elastic bands Though
the end of the work is quite

SLi 4

KELLEY JO BURKE

clever, with one dancer
Straining against an elastic
Cage, it was poorly lit, and
overshadowed by the fact
that the fellow had been
kneeling within the cage for
the whole dance, looking for
all the world like a
moustachioed lon in the
ZOO.

Things improved con-
siderably after the intermis-
sion. “Adastra” Wyman's
latest conception was her
work at its best. Alive with
jibbering Martians and
bouncing imps, the masked
and wonderfully costumed
dancers gave a delightful im-
pression of ahen bodies in
space.

Castor and Pollux. golden
twins with star crowns were
yust fun to look at, and the
handpainted costumes were
a spectacle in themselves.
But behind the masks the
dancers seem more assured
in their movements, and no
sweaty gnmaces, or huffing
hfts marred this visit to a
space circus

The final piece, a piece
conceived in the theatre
group's first year, 1973, 1s an
apt summation of the com.
panys work Called “Dance
Is this and this.” it ts
about bodies and other
machines that move

Most pleasing was the in
credibly old assortment of

broycles that the dancers
rode to introduce the unac
companied work The
dancers proved to be able

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NEWS photo Terry Peters

CANADA, played by David Diamond, is swept off its feet by the U.S. (C. Holt Davidson) while the musicians look
on (left to right) Pat Keating, Nettie Wild, Karen Darcy, and Reid Campbell on piano in Under the Gun, a disarming

revue which will be part of the Festival of Peacemaking May 25 to June 5 at the Vancouver East Cultural Centre.
Performance time will be 8:00 p.m.

mimists as the attention
shifted to humans in motion,
playing assorted sports. The
piece is graced with a sense
of humour, and closed the
performance on a pleasant
note

In the two closing works,
the dancers showed that they
could: do very good work
The women tn particular are
excellent dancers. with great
strength and expression The

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