After a term away from the main stage, Terpsichore came back strong with its spring performance, “Scope,” reiterating the range of what Terp can do.
The 12 performance pieces spanned an array of emotion and thematic content, following a loose trajectory from freewheeling enthusiasm, to contemplative or emotive impact and back again to celebration.
“Scope” woke its audience up with “This Moment,” choreographed by senior Megan Lee and its 11-person, pajama-clad cast, which got the audience laughing with their fist pumping, pirouetting, pointing, smiling and cheery moves to “Don’t Wake Me Up” by Chris Brown. Though the collective motion was less than tight, this added to the general sense evoked: that of a slumber party celebration.
The flurry of high-fives, chest bumps, and silly solos that was “Space Jam” by senior Steve Selwa elicited hoots and shouts from the audience, with the 10-person cast even infiltrating the aisles at one point. From the colorful jerseys to the human basketball and hoop, the piece engaged and entertained as much as the original “Space Jam,” from which it took its track and inspiration.
Sophomore Camille Brown’s piece “to undo what binds You” struck a different chord and struck it with a precision of deftly controlled motion. The three female dancers, dressed in black lingerie and character shoes, moved like possessed, yet somehow graceful, defiled puppets, hanging from and jerked by their red ties. Meanwhile, a suit-clad sophomore Juan Irizarry controlled the scene to the tune of “Feeling Good.” However, the tables turned when the women took back their power, casting off their shoes and sauntering away, leaving the master-no-more onstage alone, head hanging.
The show took a turn for the interpretive with “Wholeness,” a duet by sophomore Allie Fry and “How the Mighty Fall” by junior Jmaw Moses. Fry’s piece, set to a spoken word poem by Sonya Renee, focused on presence in one’s body. Moses’ traversed a re-imagining of the tale of Jesus and his apostles, set to a remix of Lady GaGa’s “Judas,” with groups and characters highlighted through red, gold, and plum costuming, paired with a sense of action and a lurid, red background that together fostered the sense of a piece of theater encapsulated in dance form.
Several of the pieces explored moments or crises in relationships, epitomized by the appropriately titled “Breaking Exhaustion,” choreographed and performed by seniors Amanda Goslawski and Quentin Gittemeier. Set to “Poison and Wine” by the Civil Wars, the duet partners began and ended hand in hand, her head on his shoulder. From body language to costumes, the message was clear: just a story about a boy and a girl. Wistful, they came to together, fell apart and came together again with a control of both natural expression and formal movement.
Transitioning from this sweet note, “24 Hype Feet” began. Decked out in a variety of street clothes, the cast of 12 performed choreography by senior Kyla Tully and other soon-to-graduate Terp members, set to a variety of songs starting with “Started From The Bottom” by Drake and concluding with “Bye Bye Bye” by NSync, which flowed easily into the all-cast finale set to the same number. With the build-up from “Hype,” the exuberance was palpable throughout the finale.
In keeping with Fry’s prediction that “some [of the pieces] you’re going to smile and clap your hands to, some are going to really challenge you intellectually, some are challenging emotionally,” the audience, which packed Harbach, responded enthusiastically and interactively throughout the performances, making “Scope” a show with range that, nonetheless, hit home.