KCC Welcomes Zvi Dance Performers
by Millie Mardahay

I attended a Zvi Dance performance in the Performing Arts Center (PAC) on March 9. This is not a review of it per se, more like a reaction. This turned out to be one of the funniest dances I have ever seen, and not because it was meant to be but because the audience was more entertaining to watch.

I won't pretend to be a dance expert, never have, never will, nor am I going to throw around fancy words like I know what I am talking about. I went to the show out of pure curiosity. The Zvi Dance is an interpretive dance, which means you have to figure stuff out as you watch the dancers move.

Sometimes it helps to read the program beforehand, as it lists vital information like the name of the accompanying music and its composer, biographical backgrounds of the dancers and the choreographer. Turns out that the dance company was no small potatoes.

Zvi Gotheiner, the famous choreographer and founder of the company, is acclaimed for his fusion of ballet, modern dance and folk dancing, elements that make his performances unique and highly original. The performance I attended was divided into two parts. The first one set to Stravinsky's “Les Noces (The Marriage)” explored the theme of relationship and togetherness. Updated for the modern times “Les Noces” included romantic scenes featuring gay couples kissing.

Normally it would not even be mentioned.

This being Sunday, and free at that, the audience was composed mainly of senior citizens, children and some benefactors who regularly contribute to the art center. There were few students here and there; probably performing arts majors who needed to see it for their class. Under normal circumstances, and by normal I mean performances on days other than Sunday, the Zvi Dance would have garnered much hoopla just based on choreography alone.

There were not many of those in the audience, so understandably the theme went over most people's heads. What they did get for sure was the part when the gay couples joined in holy matrimony sealed by a kiss. At that point all noise ceased and silence fell over the theater.

Predictably, once the music stopped there were few claps here and there, sprinkled by murmurs. “It was disgusting!” I heard from one boy,   “ But I was polite, I clapped!” “Where are the decorations,” came from a blue-haired lady, “it was just floor!”  

“I couldn't sleep,” said another, “ there was so much noise.”

As I mentioned earlier, interpretive dance is by no means straightforward. More than anything it is an art form in motion, and art is not always self-explanatory. Stravinsky's music is not kind to ears either. High pitched, full of resonance, passion and vigor, it beautifully complimented the choreography. However, it was not designed to lower one's blood pressure.   The dance, therefore, spoke volumes to musical connoisseurs.

The audience, prepped up by the introductory performance already anticipated a catch. But the second piece, called “Lapses” was absolutely stunning, both visually and artistically. Strategic lighting design by Mark London beautifully highlighted the stage, setting theme of surreal motion as dancers literally lapsed around the stage, backwards, forming a fluid, organic composition. This time there were no tricks and the audience was completely mesmerized.   Music by Scott Killian wonderfully complimented the choreography, which in between jogging, featured complicated moves for which I do not have proper words to describe.  

Needless to say, “Lapses” earned a much deserved ovation, and the audience went home fully under the spell of the world famous Zvi Dance.