Concert Review by Naimah Kisoki
Broken Regimen
Winthrop University Dance Theatre
November 12, 2021
Presented by Gabrielle Tull, Broken Regimen is a work that reflects on ways to find fluidity in a regimented environment. Performed by Donovan Granville (soloist), Ava Maldanado, Brooke Nelson, and Trinity Robinson and danced to the music score (Thunder and Rain)/Love is Stronger That Pride by Sade (Remastered by Kaytranada), Tull explores how environment shapes reality, and investigates how breaks, rhythm and grooves can dismantle our need to stay in confined boxes.
The piece opens in near darkness and strobe lights begin to flash simulating lightning. Blue lights gradually illuminate the stage, and dancers are revealed in silhouette facing upstage performing energetic percussive arm work. This element was particularly striking from the front of house, which drew me into the work further. The dancers are seen wearing army pants and close fitted tops performing repetitive movement phrases lead by Granville as the female performers responded in kind depicting “call and response” relationships that rested in the music’s back beat. Tull’s choice of persistent, angular, and staccato rhythm sets also resemble militarized occupational functions illustrating her description of the ‘societal assembly line’ in her artist statement. The dancers, relentlessly connected with the music working with, through, and against the pulse; navigating whether or not to maintain or break free from their phrase. I connect this notion contemporaneously – when faced with adversity, humanity has a way of circumventing hindrances by finding new pathways, pushing forward.
In transition to the second movement, the music began to ease and the dancers moved through new relationships on stage from a solo to duets and trios seamlessly sliding into a groove, yet maintaining the heartbeat of the initial movement quality. By the end of the work, dancers have fully broken away from the initial regimented vernacular exhibiting freedom of the spirit with elasticity, individuality, and vibrancy.
Overall, Tull’s work was well executed and well within the capabilities of the dancers. I found this work to be a refreshing addition to the program as it brought about a unique approach to connect performance and critical thinking. Well done!
Broken Regimen
Winthrop University Dance Theatre
November 12, 2021
Presented by Gabrielle Tull, Broken Regimen is a work that reflects on ways to find fluidity in a regimented environment. Performed by Donovan Granville (soloist), Ava Maldanado, Brooke Nelson, and Trinity Robinson and danced to the music score (Thunder and Rain)/Love is Stronger That Pride by Sade (Remastered by Kaytranada), Tull explores how environment shapes reality, and investigates how breaks, rhythm and grooves can dismantle our need to stay in confined boxes.
The piece opens in near darkness and strobe lights begin to flash simulating lightning. Blue lights gradually illuminate the stage, and dancers are revealed in silhouette facing upstage performing energetic percussive arm work. This element was particularly striking from the front of house, which drew me into the work further. The dancers are seen wearing army pants and close fitted tops performing repetitive movement phrases lead by Granville as the female performers responded in kind depicting “call and response” relationships that rested in the music’s back beat. Tull’s choice of persistent, angular, and staccato rhythm sets also resemble militarized occupational functions illustrating her description of the ‘societal assembly line’ in her artist statement. The dancers, relentlessly connected with the music working with, through, and against the pulse; navigating whether or not to maintain or break free from their phrase. I connect this notion contemporaneously – when faced with adversity, humanity has a way of circumventing hindrances by finding new pathways, pushing forward.
In transition to the second movement, the music began to ease and the dancers moved through new relationships on stage from a solo to duets and trios seamlessly sliding into a groove, yet maintaining the heartbeat of the initial movement quality. By the end of the work, dancers have fully broken away from the initial regimented vernacular exhibiting freedom of the spirit with elasticity, individuality, and vibrancy.
Overall, Tull’s work was well executed and well within the capabilities of the dancers. I found this work to be a refreshing addition to the program as it brought about a unique approach to connect performance and critical thinking. Well done!
