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AUDIENCE REVIEW: Koresh Dance in "Masquerade"

Koresh Dance in "Masquerade"

Koresh Dance Company

Performance Date:
May 4 - 7, 2023

Freeform Review:

Masquerade, it is a sporting theme, originating from antiquity, and a medeival idea for all to join under its disguise from reality. The club music recognized in alternative spaces is a cultural revolution- loosely felt a similar physical place taking shape. This social atmosphere at its tipping point, a boiling point for an evocative ambience of tradition in Dyionisis's rollicking pleasantry. They reverberate with the music, beating hearts, clasping at their necks, arm spans circling nothing, and they rotated around the scenic changes. The change in scene is directed by their poetic order in the program. Based on the poetry by Karl Mullen provided for the audience, a reaction to interpersonal relationships after all.

A divergent theme taking away the mask, and escaping into this fantasy is the closest assertion to its design. The masquerade is on a line of creation. Themes are constantly shaped to fit this general idea with this increasing sense of occupancy. The social distance and cerfue installed during the pandemic, cannot help but come rushing back when rereading over the poetry. The masquerade is a masquerade, and a masquerade is never just a masquerade. Its a cover up for something more fantastic, and the dance takes us there.

“Lift Those Eyelids,” almost mechanical. “Apart Together,” contrast with a sensual duet by Kevan Sullivan and Callie Hocter. Finally, “Nowhere,” a dance backlit for a triptych of the faces of drama over flowing with light, danced by Melissa Rector, Robert Tyler, and Micah Geyer.

A dreamy happiness is to be the highest material gain, and the quintessence of the masquerade that we submit to its entry. It is effective by adding assortment of opera and Boradway, sung by Sage Deagro-Ruop beside the dancers on stage. The dancers contain small moments of a familiar masked ball, and swivel the balance until we cannot recall this place from imaginary fetishes. The dreamy passing boundary around the literally physical, and duality of shadow people  behind masks pertrayed a integral idea of togetherness. Wheeling a baton, one  shadowy character, light shining through thick and thin  to reveal the master of the masquerade. Its quite simple attack unabashedly announces that the, "the Masquerade is over," and that "La Boheme" begins.

Aside, Sage took the pitch to new heights, and similarly a full company piece called, “Blades,” was sound in motion. We must be dreaming of some kind of circus act, or whatever calls for this sort of ramping up of side show excitment. We follow our dreams in the same way, substituting objects for their symbolic value, and using rhythm to escalate our sense of touch with reality. 







Chuck Schultz


Photo Credit:
Chuck Schultz

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