Molissa Fenley.

January 24-29, 1995 Reviewed by Camille Hardy

Molissa Fenley has always had an affinity for the dramatic. When she crumpled to the floor shortly before intermission on the opening night of this engagement, spectators were still sitting in momentary silence as an announcement was made canceling the rest of the performance and, subsequently, the remaining appearances. On the following day the injury was pronounced "an acute cartilage and ligament injury to her left knee." Before her injury, Fenley had managed to perform two new works, as well as much of a third premiere, programmed with the 1993 Witches Float

Fenley's interest in the distilled values of Asian art and her penchant for repetition imbued the three new works with many similarities. Principal variations were apparent in the choreographer's response to the music and to her visual collaborators, whom she is extremely adept at choosing and mining for excellent production values.

Sita--with music by Philip Glass, costume by Sandi Fellman, and lighting by David Moodey--is Fenley's longest exploration yet of the use of twining arms and hands, an active torso, and relatively undecorative feet and legs, used mainly for propulsion or to execute remarkable releves. Chiseled poses were contrasted with an audiovisual design by Lee Melahn that featured projections of Fellman's evocative photographs of Fenley's body. These changing, beautiful images often worked in tandem with the soloist, reinforcing points made about the spirituality of life and art.

An earthier context was provided for Tilliboyo and Jalan Jalan, with music for the first work by Gambia's Foday Musa Suso and for the latter by Lou Harrison. Angela Wendt contributed the stunning, one-shouldered outfit, and Moodey created the lighting for all three premieres. Small running circles added to the capricious atmosphere of this dance.

While the complete Bridge of Dreams, set to Laurie Anderson's score, was not danced, the V-shaped leaps and tautological patterns had been clearly established before Fenley collapsed. This solo comes from an ensemble work she composed in 1994 for Berlin Opera Ballet and looks to have been inspired by the witch dances of Mary Wigman, the German modern dance pioneer. Gabriel Berry designed the costume.