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DANCE:INFINITY DANCE THEATER
By Theresa Kaye, New York Dance Fax
November 2001
New York Dance Fax: Performing Arts Magazine of New York, November 2001
Sometimes what people perceive might restrict or limit them in life
is exactly what forces the best and most innovative from them. Such
was the case with Kitty Lunn, dancer and founder of Infinity Dance
Theater.
Lunn, who had originally trained and performed for many years as a
ballet dancer, slipped on ice, fell down stairs and broke her back,
rendering her unable to use her legs and in need of a wheelchair.
She's a champion of human resiliency, with her rebound back into
dancing and acting and the formation of her company, which features
disabled and non-disabled dancers, of a variety of age ranges. Her
own unique style of wheelchair dancing, based on ballet and modern
dance, was incorporated into several of the dances on the program.
Choreographer Peter Pucci presented two works, "In Time Like Air," a
world premiere, and "Hoop-La," "In Time Like Air" was a solo created
for Lunn and seemed to poetically reflect her autobiography. The
stage was softly lit with snow falling as Lunn sensitively and
dynamically danced with her wheelchair spins and gorgeous torso
extensions, which evoked a sense of freedom. Images of her literally
and figuratively spinning her own wheels, and her rolling movements
on the floor around the chair, reflecting her feelings about her
disability and changed life. Her face was beautifully expressive.
The use of the wheelchair as a choreographic "partner" was very
original.
"Hoop-La" also showed unique use of props, namely hoops, as part of
the dance design; hoop choreography was entertainingly explored. The
dancers were very clean in line and technique; balletic jete turns,
acrobatics and leggy floor patterns were combined with hoops.
Venezuelan choreographer Gabriela Poler produced deeply sensual and
passionate dances. The world premiere of "Neruda," set to three of
Pablo Neruda's poems, featured a trio of women - Kitty Lunn, Kerri
Stilwell and Poler herself. Ballet, modern, acrobatics on a
wheelchair, and floor work comprised this captivatingly feminine
piece. In Poler's "Tangos Clandestinos," a New York City premiere,
two couples performed various tangos. Raw sexuality and struggle
between the sexes was powerfully communicated. Especially, Kerri
Stilwell was a stunning, leggy, dancing dominatrix.
Marc Brew created two works for the evening, "Access" and "Fly,"
both of which possessed some striking images. "Access" evolved from
a slow sea of sinuous limbs to vivacious wheelchair acrobatics and
use of yet another prop, ropes, that pulled dancers into patterns.
"Fly" captured images of Brew freely flying through space.
Robert Koval's "After All" featured a sprightly and frolicsome trio.
Especially, Lunn had an exquisite line and a flexible, expressive
torso. Also, "The Last Night of the World," by S.D. Christopher, was
a searing, passionate duet between Lunn and Christopher Nelson. Both
performed with physical and emotional vigor, like a pair of flaming
teenage lovers.
Infinity Dance Theater's performance was enjoyable and upbeat, with
inventive use of props incorporated into dance, potent drama and
tremendously affirming activist's statement for the disabled. They
were wonderful!
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