The lord of this dance must be libido

JULIA TIERNAN/YH Something's myth-ing in this production, but it's not sex.

Somehow, the first full-length narrative work created by YaleDancers takes a fable about lovelessness and isolation and makes it very much about sex.

From Echo and Narcissus's opening image of a blossoming human flower through its depictions of Liriope's childbirth and Jupiter's lasciviousness, the piece never strays from its setting: the lush and reproductive woodland that Narcissus does his utmost to resist. So pervasive is this libidinal theme in the otherwise uneven choreography that after a while the billowing costumes begin to look like maternity dresses.

Storytelling does not prove to be one of YaleDancers' greatest strengths, but the group's presentation of the myth does offer a hypnotic new take on the sexuality at its heart. On paper, the connection between vain Narcissus and mute Echo seems no more than a random linking of two disparate tales; Ovid's Metamorphoses, after all, isn't overly concerned with revealing what one has to do with the other. On stage, however, we see clearly that this is a relationship doomed by failures of self-definition. Narcissus is only aware of himself, while Echo cannot be herself at all. Their pas-de-deux, choreographed by Liz Vacco, SM '00, is the thrilling courtship of lovers who can do nothing but mimic one another.

This dance launches the strong middle section of the piece. Nambi Gardner,
SM '01, choreographs the most powerful number, "The Punishment," in which Narcissus is cursed by the wood nymphs he attracts. Sidra Bell, SY '01, shines as Narcissus, displaying a cool agility that never lets us forget why he finds himself so damn attractive. Pamela James's, JE '01, "Metamorphosis" overuses lighting tricks to help convey its already very well-crafted exploration of the ominous sexuality of sameness, as Narcissus is seduced by two dancers playing the Reflection and the Reflected.

This narrative experiment is less successful as a performance, however, than as a meditation on incomplete sexualities. The acting one anticipates in such story-telling is painfully absent, as the majority of the dancers are unable to muster up simple facial expressions. There is also a sore lack of differentiation between characters. Furthermore, the other three numbers fail to find as perfect a fit with the music as Gardner finds in hers.

The second act is a reminder of YaleDancers' real strength: highly accomplished technical polish in numbers that capitalize on members' individual musical and thematic choices. Freed from the strain of sustaining a story, the whole company seems reborn. Jenny Lagerquist, PC '99, delivers a powerhouse "Play," with choreography by Katherine Profeta, DRA '99. It's a dance we catch onto with slow pleasure, at once totally new and wholly inevitable. Bridget Alsdorf's, TD '99, "Carillon" weaves its initial disarray into a transporting ballet. Mimi Yin, PC '99, choreographs a similarly strong "Summer Haze," showcasing the enviable talents of Gardner and Vacco. Dustin Brown, JE '99, is another fine dancer, bringing stylized class to a final swing number a bit beyond the full company's capabilities.

The finale, in fact, summarizes the production. It strains a bit too hard to realize its ambition, but it is undeniably resplendent in talent, ingenuity, and, as always, sex.

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