time for three

BodyVox dancers collaborated with Chamber Music Northwest musicians
at PSU’s Lincoln Hall. Photo: Jim Leisy


 Surprisingly, the most exciting moment of last week’s Chamber Music Northwest /BodyVox collaborative concert last week might have been the one number that didn’t involve any collaboration at all. Percussionist Ayano Kataoka’s electrifying solo performance of Iannis Xenakis’s polyrhythmic Rebonds for various drums, woodblocks and other beaten instruments sparked a loud chorus of whoops, cheers and audience generated hand percussion. (After hearing Florian Conzetti perform Psappha, another striking solo by the Greek composer last spring, I wonder: could a Xenakis revival be underway?). Kataoka’s sharp accompaniment (to an arrangement of music by Paganini) made Jamey Hampton’s hilarious solo dance “Moto Perpetuo” nearly a pas de deux.

The first half program also interspersed episodes of “Two for One…Three for All…Four for Nothing,” which engagingly told a comic love duet cum triangle cum rectangle tale set to music by Chopin, played with appropriate restraint (so as not to upstage the choreography) by Shai Wosner, who joined Elizabeth Harcombe to provide a soundtrack to a familiar filmed BodyVox work, Metamorfishes.

As usual, BodyVox dancers’ winning humor carried the day; the ensemble’s facility with facial expression, audience connection and clever timing pack a lot more comic punch than other companies’ youthful virtuosity. The smartly paced program hit a more melancholy note with CMNW Protege Project composer Katarina Kramarchuk’s poignant new music (well-played by a CMNW quartet) to BodyVox’s dream-like “Falling for Grace.” It was a treat to see some of these pieces in new contexts — particularly the addition of live music, which always seems to charge up dance performances.

Ayano Kataoka and Jamey Hampton
Photo: Jim Leisy


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