6E 1 The Salt Lake Tribune Sunday, March 20, 1983 S.L. welcomes Lewitzky and dancers By Helen Forsberg Tribune Staff Writer It was an energetic Bella Lewitzky Dance Company which I jumped onto the stage of the Capitol Theatre Friday evening in a concert which marked the troupes debut in a town that loves dance. ) Usually the concerts offered are com- -' those by the city's home-grow- n panies, but a warm and cheering ; audience made it clear that it dance from the outside, espe-daily from a group like the Los An-- i geles-base- d Lewitzky troupe which offers dancing which is solid and vi- brant, and choreography which is ef--1 fective in moods both haunting and whimsical. The companys founder and artistic director, Bella Lewitzky, initially introduced the troupe to Salt Lake City in a Thursday afternoon at the University of Utah. The articulate and dignified Lewitzky, a longtime protege of Lester Horton and somewhat of a modern dance pioneer herself, is a person who commands attention. And this confidence, this presence carries through to the core of her choreography. She remarked that a teacher once told her "to do something pretty, which Lewitzky declined, for pretty is just not her style. Her works may be striking, provocative, funny, even beautiful. But they rarely would be described as pretty." Changes and Choices, the concert opener, is a collaboration between Lewitzky and her company. She offered the troupe a movement base from which to begin and left the rest, until the final editing process, up to the dancers. The piece is enhanced by a a springy electronic ' wel-com- es - lecture-demonstrati- ably makes her point. The piece is divided into three sections; the' first, Labyrinth" is just as its title implies. With long bamboo wind chimes clanging in the air and roosters (in a recorded tape collage) clucking in the background, dancers Iris Pell and Sean Greene find themselves with po place to escape. They are tormented, desperate as they become entangled with score by Larry Attaway and catchy, yet simple costumes designed by Rudi Gernreich. One also notices that throughout the concert the lighting design by Darlene Neel is superb. The result of this choreographic venture is a kaleidoscope of movement. You may think youve seen every movement shape and form imaginable, until a Lewitzky dancer comes up with a new kind of freewheeling bump and bounce through the air. What makes Changes and Choices all the more enjoyable is the dancers energy which seems to burst from every bone in their bod- each other and the relentless chimes; the sounds drag on and nothing is resolved. Cell is as unrelenting, as four women are trapped within themselves. One woman in tight blue jeans thrusts her arms upward, her leg out, her facial expression is hard. She is caught up in her own exploitation. Another, dressed in satin robe, twists and squirms, as a baby wails in the background, while another lost soul, dressed scantily in bra and slip, looks as if she's straight out of the pages of a magazine advertisement. The final section, Stockade," employs repetitive movement, whether it be stomping over and over or a rigid march, and harsh electronic sound to illustrate the spirit of the individual being dampened or lo6t in ies. The dancers place pure trust in themselves as they stand, release their weight, lean forward and catch themselves with their hands slapping the floor. One dancers spirals through the air, another balances from her hip on the back of another dancer, with onl her legs wrapped around his arm for support. Lewitzkys Confines speaks dramatically of entrapment so dramatically and with such an atmosphere of claustrophobia, that at the works conclusion all I wanted was a breath of fresh air. Lewitzky undeni Lewitzky, by routine and repetition. Lewitzkys humor comes through clearly and not the least bit subtly in Pas de Bach, an upbeat spoof on the sometimes overdone mannerisms of ballet. The costumes, again designed by Rudi Gernreich, add much to the pieces gentle wit. The dancers are dressed in prim, pink leotards trimmed with sparkling The men's silver ponytailed wigs are a stroke of costuming genius. Lewitzky makes the most of ballets occasional excesaes as tbe dancers ridiculously flutter their arms, rise oh their toes, higher, higher, higher, lock arms and prance on toe and engage in a series of lifts and more lifts and more lifts. 1 SIM Mil . I, 0O, lOO, MO, TiaN 1,10. Pfhsg PINK : plus PANTHER". Clint I Eastwood joAiuT n Your big chance to go totally crazy! 7,tl Starring SUSAN ANTON "HOKXYTOKKHAr ITtUEwjRLai mtnm m m WtofWWWWWWWWWW FIRST RUNI "HOT TARA" SEKA Biywaa Bn VERONICA HART JAMIE GIU.IS VAUIY PAIR 4 3401 W. 2700 to. latad X -CO--HIT CENTURY MANN FLICK 2 7th I. 3th Be. 49-72- 2nd I. 33rd So. 486-S48- N "GISL'8 BIST FRISKS JULIET AN0ERS0N MERLE MICHAELS VERONICA HART RON JEREMY M. qC jji IS. 0,00. MS. "LUCKY GIRLS" tux 140.240,4,10. KANDI BARBOUR KELLY NICHOLS ROBIN BYRO MERLE MICHAELS Rated X TROiLIY NORTH WOODS CROSS IXIT Stair rVCouplesDiscount- -l iiwwi 'i uv Br,mu, a GARRI I EHJSHiBFIdI mi 740 CM A I , Ojtrn Jail il 1:45A.M. iMleSlioul I (unities rices ' r ,, vtl yo 10:00 TRAIL OF THE VERNOICA VERA MARC STEVENS RATIO X Open Daily 10: 15 am IkM AHliMlM 7i008i30 MI te M ANNIE SPRINKLE SHARON MITCHELL MOMENTS OF LOVE Suthrlsnd MAS-n- HaEViwwniP ADULTS" First Run! Ouvsl Elliott KyHoriMa DomM 344071 MURRAYITOWE m m "CeKSCITIKd Midnight 8how -- : Friday and Saturday 5 sOO fa MOL K doo-dad- s. OfVTTtOOMOM HOST RUM cflcmm Mow Ploying violence through war or sport. The soul also can be deadened, shows Or . 1,40. 3,30. 020. 7 JO. 0 20 0,10.040.040 JfiH So. 1 122 E. Spring Fort Union llvd. REDWOOD DRIVE IN 973-708- S 8 OPEN AT 34. a, 00, 7,90. 0,40. 140.3,10. 0,20 7,10.0,00 TMKS 12,40.4,10. 7,90 60S. 040 ' rm 2,30. FAMILY CENTER TROLLEY 2SS-3S9- 292-44- 1 7 TUT ' 4:30 In. 12,30. 2,20. 4,10. S,i. 7,90. 040 I AAAAAAAAAAAAA Evans returns for two nights of duet dance ANNOmCINGTHE Bill Evans and Gregg Lizenbery, former members of Repertory Dance Theatre, will return to Salt Lake City to perform a duet concert at the Marmalade Hill Center, 168 W. 5th North, March 30 and 31 at 8 p.m. The performances are sponsored by RDT with assistance from KWHO. Currently, Evans and Lizenbery are director and respec- tively, of the Bill Evans Dance Company of Seattle, Wash. In addition to directing the company and the Bill Evans Company School, Evans continues to perform in solo and duet concerts across the country. His last appearance in Salt Lake City was in May, 1981, where he was a guest artist with RDT in its concert, Reunion. The upcoming concert will feature seven works, four of which are pieces choreographed by Evans since 1981. In addition, works by Claudia Melrose and Daniel Nagrin will be performed. While in the Salt Lake area, both Evans and Lizenbery also will be conducting workshops. Evans will be teaching in the BYU Modern Dance Department, while Lizenbery will offer classes in movement fundamentals and space harmony at the RDT Studio. Tickets, which are $10, are available at RDT, KWHO and the Salt Lake Acting Company Box Office. 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