|
The Plain Dealer "Nature joins sirens in perfect call of art lovers to the beach" For the second year in succesion, Sarah Morrison's "Erie Sirens" achieved their goal of drawing attention to the beauty of Edgewater Park beach. Mother Nature cooperated Friday night by providing a glorious sunset. The imaginitive production was so perfectly timed that the dancing sirens reached the sheltering curves of their sand-sculpted counterparts at the exact moment the blazing sun disappeared into the lake. It was a breathtaking image and it won an appreciative response from the large crowd. Morrison, one of Northeast Ohio's most intelligent choreographers, had carefully restructured and condensed the provocative environmental piece. The shrill women's chorus of the original version was replaced by a gentle vocal-and-instrumental ensemble. The opening sequence was given more meaning by being moved from the bushes on shore to the rocks in the lake. A concise printed program recounted the greek myth of the sirens. Strange creatures with the bodies of women, the wings of bird and the tails of fish, the sirens were said to sing so seductively that sailors who passed their rocks were lured to their deaths. The artful program note also included a poem by Robert Browning and several illustrations of sirens ranging from a 14th-century fresco to a recent photo by Scott Radke, the Cleveland artist who created the sand-sculptures. Besides the three reclining figures that became the focal point of the dance, Radke defined the boundary of the huge performance space with a sculpted head that looked like a tragic Greek mask glowing from within as the sun set. The performance began almost imperceptibly with the legs and flexed feet of the dancers rising above the rocks like graceful fishtails in the far distance. The site was marked by gauzy white banners erected on crude sticks. Dancers Morrison, Amy Notley, and Jennifer Sandoval could be seen only in sillhouette as they stepped onto the rocks and performed quick, birdlike movements. Because the strong wind was blowing away from the audience, the accompanying music was barely audible. But the lovely voice of mezzo-soprano Jennifer Larimer, the sweet tones of flutist Carrie Rose and the colorful timbres of percussionist Matthew Apanius enhanced the mysterious mood of the dancing. As the Erie Sirens ran from the rocks to the sandy beach with their arms extended like wings, they gracefully manipulated long, white veils. As the performed playful handstands and did precarious balances in the soft sand, they allowed their veils to float away on the wind. The dance culminated with a ceremonial wading into the water and a nymph-like frolic of jumps, splashes and rolls over a partner's back. When the fun finished, the dancers emerged from the water, their fringed cstumes sticking to their legs like seaweed, and crawled slowly to their resting place with the sensuous sand sirens. The partly improvised choreography recalled the simplicity of early modern dance. The performance, dimly seen in the fading light was fascinating. At the end, the audience members accepted Morrison's invitation to take a closer look at the sculptures. The effectiveness of the production and the positive response of the crowd suggested that Edgewater Park is a splendid site for artists with concerns about the environment to celebrate nature and reach a new audience.
|
| Back to press |