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Under the brilliant hand of the director Peter Boal, Ulysses Dove's striking, signiture movements evoke the liquid, jewel quality of instantaneous calligraphy. Each moment has the layered, lacquered quality of a pictorial symbol streaming into the master story. The first piece, ‘Dancing On The Front Porch Of Heaven' involves three female, and three male dancers. Dressed in white leotards, they begin in a circle and pair off now and again, always to return. The couples' desire for love is strong and immediate; there is no subtlety here. The women fling and fall into the men's arms, they spar with each other, they leave their men without a backward glance. Two men search each other with searing muscularity and just a hint of tenderness. The second piece, ‘Vespers' has six women, shrouded in black, grieving the loss of loved ones. They move spartanly back and forth between a straight row of chairs on stage right, and an open set of chairs on stage left, unable to find comfort. The women, seized with contractions, bend their heads into their bellies in rhythmic horror. In center stage, the dancers move with sharp, staccato gestures to the incessant, percussive music. The last work, ‘Red Angels' has four superb dancers in scarlet emerge from a shaft of light onto a black, glowing stage. They move with the aura and boldness of red figures immortalized on unearthed Greek Vases. Their swift sureness, angular bodies and confident profiles conjure up epics of conquering heros. Here we have eternal love, surviving the fury and fire of thousands of years, as the ancient myths play out before us, vivid and timeless.
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