Birds and bedtime stories have long been sources of material for choreographers. Diane Floyd's "The Pelican Chorus," which her Saturday Company presented this weekend at the Joy of Motion studio, was a literal staging of the Edward Lear poem that delighted the audience.
Although Jeanne Feeney and Keith Goodman waddled, strutted and preened quite effectively, the star of the piece was musician/narrator Teddy Klaus, whose amusing rendition complemented the nonsense of the words and captured their cadence so well he should consider renting himself out to less-talented parents who have problems luring their offspring to sleep.
Costumes, props, poetry and bird imitations all helped distract one's attention from the fact that there wasn't much of dance interest going on. Floyd is a lovely dancer, capable of shaping a movement with sculptural clarity and with a good deal of performance savvy. At present, she is a far stronger dancer than choreographer. Although she can present movements in an extraordinary manner, neither the ideas nor the movement vocabulary of her dances is extraordinary and her works suffer when she does not perform them. On Saturday night, for example, Laura Shumate Reynolds danced Floyd's solo "Suite Melissa" well enough, but the poses, plie's and pert stares were exposed and laid bare without Floyd's presence.