The name says it all - Raiford Rogers Modern Ballet. Founder/choreographer Rogers has a clear and precise contemporary vision but remains within the classical tradition. Geometric applies as well, without the rigidity that word might evoke. All this was apparent in the two works the Los Angeles Company brought to Dance Theater Workshop in July. With a complement of nine well-trained dancers to show off two sleek pieces, the company defied the notion that Los Angeles has a less-than-interesting dance scene.

Wishes and Turns (1985, revised 2004) showed an adventurous side to Rogers but also a propensity toward research. Although plotless, the piece evolves as a series of combinations and recombinations anchored by adagio sections. There were many entrances and exits that added variety but subtracted a sense of continuity. While duos and trios predominated, there were interesting solos for three of the women, Lisa Gillespie (the de facto star), Veronica Caudillo and Tekla Kostek. Kostek was a pleasure to watch, and her strong, expansive back reminded of her teacher Tatiana Terekhova. Rogers frequently used long, stretchy movements that ended in a fall or deep bend.

Whiffs of various classical ballets gave way to a cooler but lively finale. Monique L'Hereux's fine lighting design nicely responded to the accompanying music from Bohuslav Martinu's Piano Quartet No.1.

In C (2002) had the carefully planned feel of a chess game but movements were more strenuous and freer than in the preceding piece. Here Rogers created texture more from the rhythm of changing combinations of dancers than particular steps or movements.  But his trademark of clarity also guaranteed a clear impression of each performer's dance personality, something rarely achieved even in smaller companies like this one. Also contributing to this impression of transparency were the simple, unfussy costumes. Of special interest was Terry Riley's minimalist score. Maybe we've been cheated all these years by hearing only his students Glass and Reich rather than their master.

The renovated DTW provides a fine, standard 'black-box' space. Rogers's work, for all its modernity, seemed compressed on the rectangular stage there - as though it were conceived for a square space just like for classical ballet. The traditional circular dances in many folk traditions in essence presuppose a square space to hold the circle. A rectangular one will do provided it is deep enough, and here the DTW venue seemed to shortchange Rogers's vision. Although black box is usually thought of as a one-size-fits-all, for dance that can be a dangerous assumption.

In addition to Caudillo, Gillespie and Kostek, dancers included Reid Bartelme, Jamie Dee, John Funk, Jack Hansen, Merett Miller and Jimmy Orrante.

David Lipfert, ATTITUDE: The Dancer's Magazine, Fall/Winter 2004, Pg. 28
Back