Molissa Fenley

Press, 8 March 1984, Page 8

Molissa Fenley

“Hemispheres,” Molissa Fenley and dancers, at the Theatre Royal, March 7,8, and 9. Running time: 8 p.m. to 920 p.m. Reviewed by Janetta Mackay. The New York dancer, Molissa Fenley, has been hailed as the proponent of a new dance form. She is not. However, her choreography, a fluidly feminine kinetic energy, offers an extension to movements which are merely muscular. Molissa Fenley works from the traditions of classical and modern dance, yet her style, more concerned with atmosphere than drama, offers an enticingly different perspective. “Hemispheres,” a work in four parts with three dancers, has a lyrical excitement, at times frustrating but ultimately a satisfying expansion of some of the more obvious limitations of

expressionist .dance. “Before Borders” begins the show by distancing the

audience with a curiously passionless set of swirling movements made remote by the dancers’ impressive spatial exploration. A stage starkly draped and harshly lit proved an effective backdrop for the second piece, “Telepathy.” The earlier improvisational avante-garde jazz backing music was abandoned for the rhythms of breathing and foot-slapping. When the music began again an uneasy juxtaposition with the dancers was painfully evident Their reliance on its staccato sounds to create a feeling of energy became unfortunate.

In “Eidetic Body,” after a long interval, the use of music was more sympathetic. A gestural series of body movements given a new twist by sinewy undulations harmonised with piano and cello. The sound reproduction of Anthony Davis’s compositions was, however, poor. Two, then three,

dancers subtly drew the audience with fine ensemble performing. Structurally this was the most interesting piece in which the dancers neatly counterpointed each other. Only the odd simultaneous sequence detracted from a work of romanticised street feeling. The final piece, “Projection,” developed an imagery, the female version of “West Side Story’s” male bluster. Postures moved too quickly for rigidity instead engendering serenity. Costumed in the angular yet draped garments of the Japanese designer, Rei Kawakubo, of Comme des Garcons, the trio were street urchins of the 1980 s interpreting the ebb, flow and trend, of being. It was disappointing on this opening night of three performances that the theatre was only two-thirds full. Those who gave generous applause had had an evening of warming quality.