Original electronic music by Alberto Schwartz allows the dynamics and internal rhythm of the movement to resonate.
By ORA BRAFMANdance review 88(photo credit: )Curtain Up 2
Suzanne Dellal
December 13It Raines Inside, a trio choreographed by Rachel Erdos, which opened Curtain Up 2 at Suzanne Dellal, is a highly physical dance-theater piece that employs contact for its versatile corporal encounters.
Original electronic music by Alberto Schwartz supplies a neutral background that allows the dynamics and internal rhythm of the movement to resonate and enhance the work's inner pulse. Maintaining perfect timing, Ori Lenkinski, Anat Maron and Gil Kerar performed impeccably well a series of jumps, falls, lifts and rolls as metaphors for frustration, yearning and desolation that led to anguished screams.
Quite a few screams were also heard in Niv Sheinfeld and Oren Laor's creation, Post-Martha, based on Edward Albee's Who's Afraid of Virginia Woolf.
Perhaps Sheinfeld and Laor chose the play expecting its emotional and dramatic configuration to supply the dance with solid structure and serve as a starting point for their theatrical creation. In the process, they were trapped in the original storyline and all too often tried to portray it through movement and strong facial expressions.
Ronit Ziv and Irad Mazliach are both strong dancers with powerful presence, and they infused their roles with great amounts of passion and drama - and at times, with compassion. But the more the dance tried to stay true to the story's complex emotional rollercoaster ride, the more it clung to dated artistic modes and lost its inner flow. Between the seams, wonderful moments - mostly in form of duets - shone through and recalled some of Sheinfeld and Laor's obvious talent portrayed in previous works.
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