- RICARDO MAKYN/STAFF PHOTOGRAPHER
Jermaine Rowe performs the solo excerpt 'Islands' at the National Dance Theatre movement's 'Morning of Movement and Music 2005' at the Little Theatre yesterday.
Barbara Ellington, Senior Gleaner Writer
"It's nice to see that some things in Jamaica have maintained their high standards," said Sheila Price following yesterday morning's Easter Sunday presentation of the National Dance Theatre Company's (NDTC), 'Morning of Movement and Music 2005.'
Under the guidance of artistic director Rex Nettleford, the programme moved smoothly with each act seguing into the next. As is customary, it was a packed house that came out for this year's event - despite the 6:00 a.m. start.
The music, specially selected for the feast, began with Marjorie Whyle's composition of Alleluia He is Risen, demonstrating the veteran musicologist's mastery of the genre.
Among the other renditions of the NDTC singers were: O Give Thanks Unto the Lord, The God of Peace and a suite of favourites: It's Me O Lord; Heaven is My Home; What a Wonderful Thing followed by composer Stainer's God So Loved the World; Charles Gounod's Hark, My Soul! It is the Lord and a beautifully engaging performance of Gloria, from Misa Crillla, composed by Ariel Ramirez. Each dance number left one almost wanting more and the company's use of lighting and costumes, once again demonstrated their years of careful attention to the details of all the elements of a great production. In the movement section of the programme's offering, Nettleford's Christ Arose depicted dancers' bodies rising triumphantly towards the skies, in the same way that Jesus ascended into heaven on resurrection day.
FRESH SPRING PASTEL SHADES
Clive Thompson's solo Of Sympathy and Love, with dancer Mark Phinn, evoked the pathos that usually accompanies the crucifixion. Total Exultation, choreographed by Oneil Pryce, featured dancers costumed in fresh spring pastel shades. The movements were like a delightful romp in innocent appreciation of God's grandeur. In contrast, one could almost visualise the Master carrying the cross in the solo excerpt, Islands, another Nettleford choreographed number. Ancestral Praise a totally enthralling work choreographed by MoniKa Lawrence, utilised the music of Agatha Moses's 'Nigerian Praise'.
The dancers showed a blend of traditional and contemporary movements, but the music sent the imagination into the heart of Africa where women and men moved with the raw and inhibited rhythms that naturally reside in their souls.
Kerry-Ann Henry and Marc Hall's Life After Death again utilised beautiful costumes and Sarah McClachlan's, Angel was the perfect choice of music for this dance that elicited loud cheers from an appreciative audience.
Blood Canticles, another of Nettleford's offerings, graphically told the story of the real meaning of Easter. The symbolism of the blood could not be missed, whether it was from the cross and the use of regal, royal purple with hints of red - more reminders of the Saviour's blood.
