More and more dance concerts these days tend to resemble Ted Mack amateur hours. One after another, the young hopefuls strut their choreographic stuff: flat, two-dimensional classroom exercises, narcissistic poses, aimless gyrations wedded beat for beat to the latest new wave hits. Such was the scene yesterday afternoon at the Church of the Epiphany, where Dance Arts/Moving Arts presented eight works by five fledgling dance-makers.
There was, however, a light at the end of this dismal, cliche'-strewn tunnel. Bob Fogelgren's "Excursions," a quartet of dances for himself and Carol Dunn, proved one of the most structurally lucid, affecting and just plain watchable compositions by a local artist that this writer has experienced in some time. Set to a series of evanescent piano pieces by Samuel Barber, the dance begins with a duet of approach and separation. Dunn, with her frizzy blond hair and friendly face, pushes her palm forward repeatedly, insistently. Fogelgren, a bearded, slightly bearish soul responds with a little treading step. Back and forth they go, accumulating and trading gestures, coming together and backing off.
In the solos that follow, man and woman establish specific emotional states through increasingly aggressive, tension-filled movements. The final duet is flippant, almost a folk dance. The performers start on separate tracks, she engaged in rounded, flowing gestures, he, stiff and angular. Slowly, they temper their styles, accommodate one another and end in harmonious unison. Fogelgren has not only created a well-crafted dance, but has evoked an ever-changing, resonant relationship between two people.