DATE: Tuesday, April 29, 1997               TAG: 9704290043

SECTION: DAILY BREAK             PAGE: E4   EDITION: FINAL 

TYPE: Review 

SOURCE: BY JUDITH HATCHER, CORRESPONDENT 

                                            LENGTH:   60 lines

DANCERS DELIVER DIVINE PERFORMANCE

GARTH FAGAN DANCE was a sparkling addition to the Virginia Waterfront International Arts Festival, performing Sunday at Norfolk State's L. Douglas Wilder Performing Arts Center.

From the first silent, deer-like darts onto the stage in ``Prelude,'' to the well-deserved encore in ``Mix 25,'' Fagan and his divine dancers reminded us of what ``modern'' and ``dance'' are really about. Modern dance has too often, especially in this area, failed to progress with the times that have been a changin.'

``Prelude'' was a perfect opener for newcomers, and a hypnotic reminder for old fans on why we love Garth Fagan Dance - beautifully high leaps, articulated limbs, sudden and sustained balances from nearly frenetic diagonal work, rippling torsos and an anti-gravitational feel to changes in levels.

Chris Morrison, in ``My Dear Brother,'' and Sharon Skepple, in ``Fondly, Ms. Velvet Brown,'' were two of the ``Postcards: Pressures and Possibilities.'' Morrison, in shirt, tie and briefs, was a study in self-focus and suspension, caught half-done and half-bare, measuring himself, perhaps, to his invisible brother. The fluid Skepple let us look in on the dialogue she seemed to be having with herself. She caught all the nuances in David N. Baker's sassy score, as if honing her feminine charms in private before unleashing them on a hapless male in public. Both showed enviably high extensions and steady balances.

``Touring Jubilee 1924 (Professional)'' was such a delight. It's hard to go wrong with either Fagan's dancers or the music of Preservation Hall Jazz Band. Both were winners. The men were marvelous, the ladies luscious. Combine the birds, the bees and an ultra-cool boogie for an audience favorite.

``Nkanyit - There, Here, Family & Tomorrow,'' was a masterpiece. Referring to the Samburu way of raising children with ``all encompassing respect for life, elders and each other,'' this mini-epic had old meeting new, minus the expected cliches.

African ancestors, moving majestically to soft jazz, crossed time and space to meet with mod rockers grooving to tribal rhythms. Natalie Rogers in ``Here'' had a skillful series of back rolls into a prone push-up position and modern attitude turns ending in precise balances a la seconde.

``Family'' was a poignant portrait of something rarely depicted these days - a believably loving family, well-done by Norwood Pennewell, Skepple and Rogers. In ``& Tomorrow,'' when the company fused the past and present rhythmically, one felt nirvana was imminent. The spiritual mood of this eloquent piece was marred only by some inconsiderate members in the audience taking flash photos.

``Mix 25'' closed the show, but the audience wouldn't let Fagan or his dancers leave without one last look. ``Shackles'' was the standout in this series. Pennewell, Rogers, Morrison and Skepple were bound by what usually binds us, things that are invisible. Occasionally, their souls or imagination would break free and soar into Fagan's fluid and gut-filled movements. Pennewell, Rogers and Morrison returned in ``A Trois,'' a fascinating bit of mobile sculpture.

There should have been many more dance teachers in the audience, with students in tow, watching these professionals. If artists won't support each other in expressive endeavors, they shouldn't complain about the dwindling dance audience.

Send Suggestions or Comments to webmaster@scholar.lib.vt.edu