Word: orloskyã
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Combined with the soft, atmospheric lighting of Michael Zellmann-Rohrer ’10 and the set’s pillow-strewn palace rooms and smoking dens (designed by Aileen K. Robinson ’08), Orlosky??s choreographed belly-dances made for a production that sometimes came off as excessively luxurious. Despite Okocha’s terrific performance, it was impossible to ignore the fact that Shahrazad is less a character than an embodiment—there were innumerable references to her “beautiful body”—of a set of existential...
...rustic muslin skirt, Orlosky launched into a rapturous sequence of leaps and turns against a backdrop the color of the dawning sun. Antja Davelcot’s plaintive country-western ballad “Ravenland” played in the background, providing a perfect aural compliment to Orlosky??s passionate performance. Things took a turn for the political in “My Angel Rocks Back and Forth,”an ensemble piece choreographed by Dominique M. Elie ’06 and Todorova, that played like a populist parable. A cadre of dancers in turn...
...only solo on the program was Marin J.D. Orlosky??s ’07 “Losing Momentum,” set to Bjork’s “It’s Oh So Quiet.” This time the title aptly reflected the content of the dance—the first 30 seconds of the two minute piece the choreographer/soloist spent sitting still and rigid on a chair. Like the blank canvas which is art because it is the absence of art, this piece was dance in the absence of dance...
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