"...modern, sensitive, and evocative dance"

July 27, 2006 performance, reviewed by Sandy Michel

After experiencing an evening of modern, sensitive, and evocative dance with the Danish Theatre Group at Jacob's Pillow, we have much to look forward to as these dancers mature and strengthen. Today's performance was thrilling.

There were two premieres, "Silent Stops," and "Kridt." "Silent Stops," choreographed by Briton Tim Rushton with music from J.S. Bach's Harpischord Concerto, immediately aroused comparisons to Paul Taylor's interpretations of the Bach concerti. The running-across-stage, rolling-on-stage, walking, and falling movements were, at first, much like Taylor.

The male Danish dancers were not as powerful as Taylor's until coming into their own with a different style and aura, as created by Rushton. It took a while for them to blossom and relate to the audience, but they did, as Rushton uses a great deal of hand movements. I am not sure how cohesive jittery hands are with Bach and relationships between dancers. I was most impressed with Laura Lohi; there was charisma between her and the audience.

I loved the slower, more thoughtful "Kridt," with music composed by Peteris Vask. "Musica Adventis" was perfect for this spiritual piece. And The Wall, in French, written and recited phrases from Ecclesiastes in chalk, erased and smudged, was a tour de force. I felt Ashton was an individual and showed his style and creative talent in this mature piece.

All the dancers seemed to come into their own as their movements were evocative of life's ambiguities - as one relationship comes together, blends, and obliterates. Kenneth Carlson was the suffering and at times Christ-like figure; excellent in his tall, strained, thinness.

All the women were excellent, especially the non-Scandanavian Marylise Tannet-Schmidt, showing promise of a successful career ahead.

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