| ses an immediate appeal.
I consider this sort of thing corny.
I ed motion, and says it with humor.
| tion has become virtuosic.
| by the Doobie Brothers.
I sation about winning prizes.
| do and then set them loose.
only time during the evening.
Lampert's "Home," to music by !
play on the words "dense" and !
and amusing, just as often dull.
Description Clipping from a Dance Kaleidoscope press scrapbook.
Full text [Kaleidoscope Relates Art Of Dance To Life By CHARLES STAFF Art that relates to life usually is | easier to relate to than art that relates I only to itself. This obvious thought came to mind I at the ahnual Dance Kaleidoscope con- J cert last night at the Athenaeum. Pre- I sented by the Indiana Repertory Thea- 1 ter, the troupe, under the direction of I Cherri Jaffee, will repeat the six-part 1 performance tonight at 8 and tomorrow I afternoon at 2:30. The third presentation, "Sea Crea- Itures," was choreographed by Cincin- Inati's Michelle Morgan. Her work, I featuring Deborah Chernin Galvin, Gin- I ger Martin Hall, Karen Mahoney Litt- I man and Robin Sussex Wilson, posses- | ses an immediate appeal. The dancers barely leave the floor, | and the movements frankly imitate sea- I life forms in a recognizable, graceful I fashion. The blue-green lighting and the I costumes enhance the effect and the | mood. On the other hand, purists might I consider this sort of thing corny. The opening number, "Sloe Gin," a I repeat from last year choreographed by I Rachel Harms of New York to low-down I Jimmy Yancey piano music, says some- I thing about the lives of women, the ] frustration, the weariness and the wast- I ed motion, and says it with humor. The dancers, those mentioned earlier J minus Miss Wilson and plus Michelle I Jarvis and Mrs. Jaffe, have this particular number in them down to the last movement and breath so that the execu- | tion has become virtuosic. The first of two world premieres was I offered as the second attraction: "Whispers," choreographed by Harry Streep III to silence, talk and music recorded | by the Doobie Brothers. The number is a combination of set I choreographic steps, particularly duos, 1 and improvisations, including a eonver- I sation about winning prizes. The tentative first part is done in I silence. Obviously, there was no way to I count. One supposes that Streep, the [brother of actress Meryl Streep and I head of New York's Third Dance Thea- I ter, gave the company certain things to | do and then set them loose. For this number two men, new to the I company this year, joined the women: I Bob Sherry and Aubrey Watson, both I talented and, like Mrs. Littman and Mrs. Jaffee, tall. And Therese | Chatelaine also was on stage for the only time during the evening. After intermission came the Indiana premiere of choreographer Rachel Lampert's "Home," to music by ! Haydn. This fairly conservative piece was brightened by the last section, which took its style and movement from Streep then appeared in the Hoosier premiere of his one-man creation, "Underline," which the notes called a "bittersweet lament for those of us who are waiters on the outside and cowboys on the inside." Streep opened a wine bottle, poured a glass, drank it and threw the glass away, all to "I'm an Old Cowhand from the Rio Grande." Then, to a manual for I waiters, presumably from Manhattan's Tavern on the Green, where he once worked, he performed a dance that | grew in ferocity. In the next part Streep talked, a sort I of Lewis Carroll "down-the-rabbit-hole" play on the words "dense" and ! "dance." Music by Randy Newman I came up and Streep shaved, moving I closer to the audience. At the end he tore up a double-page of a newspaper and sprinkled the bits around like tears or confetti and walked off. j Economy of means does not describe Streep's style. He might be said to be I niggardly in his invention. The results were variable, occasionally touching j and amusing, just as often dull. Art does not have to relate to life, j but it must be interesting, capable of I engaging the mind, the imagination, the emotions, one of these, preferably all | three. Watching a young man tear up paper I is not fascinating though it could be if I the mood were properly set up by what I goes before. Streep almost succeeded I but didn't.