Moving Forward, November 3, 2007, Rialto Center for the Performing Arts

This show was a benefit for the Atlanta Community Food Bank. Sadly, it reminded me of the Illumination Project, in that there was really good dancing and no one came to watch it. This is only the second time this benefit has been produced, so maybe word is still getting around. The participating companies were Ruth Mitchell Dance Theatre, Northeast Atlanta Ballet, Moving in the Spirit, CityDance Ensemble, The Georgia Ballet, the Atlanta Philharmonic Orchestra, CORE Performance Company, Atlanta Ballet, and Giwayen Mata. Kudos to all of them for participating.

Ruth Mitchell Dance Theatre presented "Birthday Variations", a lighthearted piece set to orchestral variations of the song "Happy Birthday to You." (Sadly, music and choreography were not credited in the program.) The choreography reminded me of a silly-in-a-good-way piece I saw last year by Sam Watson, "Hi Jinks,"and I later discovered that he was also responsible for "Birthday Variations."

City Dance Ensemble presented three numbers, one of them being "Forbidden," described in the program as "a Polynesian-inspired love story involving a forbidden attraction and a jealous husband's rage." Choreography was by Saroya Corbett. Also presented was the ballet classic "The Dying Swan," danced by Christen Edwards. Ms. Edwards displayed a rare understanding of the classical styling of this piece, and watching her was a real treat.

Also a real treat was seeing Ben Stevenson's "Three Preludes" performed by Tara Lee and Jonah Hooper of the Atlanta Ballet. The first time I saw this piece was at Houston Ballet's tribute to Mr. Stevenson on the occasion of his retirement as director of the company. I don't recall offhand the dancers in that performance, but I do recall the program notes saying that Mr. Stevenson choreographed this piece for Roberts Scevers and his partner(?), who were students with the Harkness Youth Ballet. I used to take the occasional ballet class from Mr. Scevers, which I enjoyed a great deal, and remember thinking during the HB performance that the choreography suited his movement style. In the Atlanta production, while Mr. Hooper danced well, he was emotionally reserved, especially in contrast with Ms. Lee, whose emotion and beautiful lines brought out the beauty of the choreography.

Closing the program was an energetic and enthusiastic display of dances from the Susu people of Guinea, West Africa by the all-female group Giwayen Mata.