Printer Friendly

Getting Gimme down.

There is something at once elfin and steely about Robyn Mineko Williams. Petite and perfectly proportioned with a delicately chiseled face that suggests both serenity and hidden mischief, she moves with fleetness and clarity onstage.

Earlier this year when fellow dancer Cheryl Mann suffered a knee injury, choreographer Lucas Crandall, who also serves as artistic associate for Hubbard Street Dance Chicago, invited Williams, a company member, to learn Gimme. He had created the demanding duet for Mann and Tobin Del Cuore (see cover story, Ang. 2005) in 2004.

A quirky, acrobatic, almost cartoonish portrayal of a push-pull romantic relationship--in which the woman wears a short red dress and clunky Doe Martens boots--Gimme's theatrical gimmick involves a length of rope that often tethers the woman to her partner. At some moments it appears that she is on a leash, at others that she is a marionette. Set to jig-like contemporary folk music by the Norwegian group Bla Bergens Borduner, the pas de deux can move from dark to light with just a flick of the wrist.

Crandall says he cast Williams, 29, a member of Hubbard Street for six years, "partly because she had similar qualities to Cheryl--not quite tomboyish, but both tough and soft."

"But she also is just a really beautiful dancer and it was time for her to step up," says Crandall. "Robyn is a bit smaller than Cheryl, so she does some things a little faster. That's the nice thing about duets; every pair makes the piece look just slightly different."

Williams, who began studying at age 5, spent four years with the River North Dance Chicago company before joining Hubbard Street. She was watching when Crandall first created Gimme during a Hubbard Street workshop, but never thought she'd get to dance it.

"I'm really surprised and excited," says Williams, who began learning the role this past summer. "It's just so much fun to put on those big boots and feel huge. Lucas says he sees the duet as Daisy Mae and Li'l Abner, and I love that sense of being a punky cartoon character. Dancing this piece you really feel the yoyo effect of a couple in a relationship and always fighting about something stupid. But it's done with a playful frustration more than an 'I hate you' quality."

As for trying to dance in the footsteps of the original performers, Williams seems unfazed. "Lucas is very specific, but he also gives dancers quite a bit of freedom, so I felt I could walk into the studio and not worry about any preconceived ideas," she says. "In fact, I've never once thought about the way it was done before, and that's quite unlike me, because I've always been a big observer of my peers, and only recently started feeling a sense of overall confidence as a dancer. What is most important in this piece is the chemistry with my partner."

In that regard, Williams' experience with Gimme has been a double learning process. She was initially scheduled to make her debut at this summer's Aspen Dance Festival, but her partner Patrick Simoniello had an injury. Hubbard Street dancer Yarden Ronen has now taken over the role. He and Williams got to alternate with Mann and Del Cuore when Gimme was performed last fall at Chicago's Harris Theater. They will also perform it during upcoming tours and engagements.

"The back and forth in Gimme is tricky, and so is finding the right tension in that string," says Williams. "But the most difficult part is the opening of the piece, which is performed to silence. Once the music starts it's a big relief."
COPYRIGHT 2006 Dance Magazine, Inc.
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2006, Gale Group. All rights reserved. Gale Group is a Thomson Corporation Company.

Article Details
Printer friendly Cite/link Email Feedback
Title Annotation:Debut
Author:Weiss, Hedy
Publication:Dance Magazine
Date:Dec 1, 2006
Previous Article:Young Dance Collective: budding dancer-choreographers with a fresh take.
Next Article:On broadway: with The Persians, the National Theater of Greece shows how powerfully choreography can enhance a straight play.

Related Articles
Fool for love.
Gimme Five!

Terms of use | Privacy policy | Copyright © 2018 Farlex, Inc. | Feedback | For webmasters