Bowen McCauley Dance’s ‘ReSuitened’ interjects the unexpected


Dancers Alicia Curtis and Dustin Kimball of Bowen McCauley Dance. (John McCauley/John McCauley)
October 3, 2011

Lucy Bowen McCauley’s choreography is easy on the eye. Her newest work, “ReSuitened,” which had its Washington premiere Saturday at Dance Place, is no exception. It is a stress-free duet that, were it music, would make you want to hum along.

The work is classic McCauley. Like her late mentor, Eric Hampton, she interjects the unexpected. She follows a classic arabesque with arms that look as if they are directing a plane to land. A ballerina is upended and pedals the air with her feet. One after the other, dancers begin the same phrase one beat after the dancer before, creating waves of movement.

The score was put together for Bowen McCauley Dance by cellist Yvonne Caruthers, who adapted for cello the allegro from Bach’s Sonata in C for solo violin. It’s not clear what this odd adaptation added to the score, but paired with the prelude from Bach’s Suite in C for solo cello, the score’s baroque formality lent welcome gravitas to McCauley’s penchant for flickering between serene and silly. That the cellist was onstage and an integral part of the creation added energy to the performance.

McCauley’s company rounded out the program with the evergreen “Lucy’s Playlist,” a playful and always entertaining suite of dances set to popular songs. McCauley also resurrected and performed the odd and intense solo piece “Tus Ojos Claros . . . Santa Lucia,” which uses two benches, created for her by Mexican chor­eog­rapher Jaime Sierra.

Kidron is a freelance writer.

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