Maybe it was partly the heat and humidity. At any rate, yesterday's program by Sharon Wyrrick and her Full Circle troupe at Glen Echo seemed a distinct falling-off for an outfit that's been making notable strides in recent seasons.
Wyrrick is a svelte and appealing dancer, and her choreography--in its most recent phase, a mixture of idiosyncratic gesture and repetitive, "post-modern" geometrical patterning--holds a leading place in the spectrum of the area's creative activity. Nevertheless, yesterday's Glen Echo bill tended to underscore shortcomings, both in the performing facility of her nine-member company and in her own newest choreographic endeavors.
Of the four works presented, only the triptych "Currents," set to attractive music by Anthony Davis, represented Wyrrick at her inspirational best, and it received a curiously sluggish, wilted performance that left its virtues--those of ritual activity in interesting permutation and combination--more hinted than realized. The "Drive" is a bit too doggedly simplistic in its portrayal of urban compulsiveness, and it too was danced rather flabbily.
The newer pieces--"Backset," using slides of unimpressive paintings by Joan Wolbier and Alan Kahan which depict seated and standing dancers, along with a dull, minimalist sound score by Wyrrick and Bob Read, and the sporty "(Antic)ipation," to music by Read--were choreographically disappointing. Both looked trapped in the fixtures of Wyrrick's idiom, without extending its expressive reach. And the performances, as well as others throughout the afternoon, lacked edge, precision and linear definition.
Wyrrick has been steadily prolific over the past few years. Maybe it's time for more measured progress, and a sharper critique of her troupe's conspicuously underdeveloped technical prowess.