Shows: Slavic Goddesses
Charles Gowin’s beautiful line was played to maximum advantage in his solo as Wolas, described as the goddess of fatalism and magic. Said to provide a contact between the living and the dead, this Wolas frequently paused with one leg extended. Wearing gloves, the fingers of which tapered to points well beyond his fingers, he rolled his wrists and offered his open palms to the audience — simple, and an effective use of Olowska’s costume.
As Perkun, the goddess of the skies, Mei Yamanaka was the most contemporary-looking dancer in the roster. In a back-less leotard and leggings, Yamanaka several times balanced on one leg, spiraled into an attitude à la seconde, becoming the jagged electric outlines she carried in her hands.
These were dances composed of steps. Madison Krekel as Morena, goddess of winter and death, executed a slow pas de bourrée turn. Pyle paid attention to the dancers’ hands, feet, and eyes. Indeed, the most effective solo was the show’s last. Lindsay Reuter as Pepperuga, described as the goddess of prosperity, thrilled in an understated sequence that contrasted heel stamps performed perpendicular to the audience and deep pliés à la seconde while facing the audience. In plié, Reuter shimmied her shoulders and rolled her eyes in a way that recalled a god, yet was uncannily human.”
-Natalie Axton, HYPERALLERGIC, February 1, 2017