A solid, artistically cohesive art work that is enjoyable and surprising.
By ORA BRAFMANdancers(photo credit: Courtesy)
Quite miraculously, contemporary choreographer Yoram Karmi took a Jerusalem-based small, rickety ballet company, directed by Nadia Timofeeva, and turned it against all odds, into a solid, quite pleasing group of dancers, for the first time.On its better days, the troop looked like a studio performance with obscure promise, until Karmi, the founder-director of Fresco Dance Company, got commissioned to do Clara, set to Clara Schumann’s score.
Since old habits die hard, the company opened with three duets before the intermission, an unnecessary introduction for the real reason to attend the performance.The first few minutes of Clara were misleading. They looked as if Karmi tiptoed hesitantly into this ambitious production, but soon he loosened up, expanded his compositional flow, and enriched the structure and its use of space. Using fluent ballet-based technique, he brewed modernist work and managed to make the nine dancers dance energetically, with bravura and flair and utter commitment for the team, instead of merely executing steps, worrying only about their own look.Supported by the mischievous imagination of Maor Zabar, designer extraordinaire of the most colorful and funkiest clothes, and highly experienced lighting designer Shai Yehudai, Karmi found a way to take the young dancers on a fast, highly demanding track, as far as they could, making them look brighter than ever before. He also found a delicate equilibrium between the sensitive musical interpretations, his delightfully subtle humor, and managed to infuse all the elements into solid, artistically cohesive art work that was enjoyable, hugely surprising and very satisfying.
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