Dressed in studied, informal clothes, the ensemble assumes casual poses in the twilight. Small clusters curve and mirror movements, seeping through swinging arms, cushiony drops and stops.

Rippling moves swoop into the ground and back up, against the backdrop of J.S. Bach’s calming “The Well Tempered Clavier.” A sense of community pervades the patterns as couples break out of the group, only to be joined again by their neighbors.

Gat toys with idea of counterpoint, triggering two groups of dancers performing different steps merging in a sense of kinetic harmony. Most interesting were the occasions when one dancer finishes another dancers’ movement sentence.

Every now again, the lights on stage are turned off except for a key light. Gradually they brighten, but this “trick” doesn’t seem to be related to the dance. And although only one hour long, the overall energy similarity of "Preludes et Fugues" starts to wear thin about midway through.
EYE ON THE ARTS, NY -- Celia Ipiotis