The dancers are not only inseparable from the environment, but they also are the environment - its human scenery.
The curtain rises on a slide projected on a backdrop. The image is of a huge waterlily, and Mr. Nikolais's electronic score is a charming blend of thumps and xylophone tinkles. The dancers appear as shapes, with patterns of green and yellow projected on their bodies as they sit seemingly on the floor. As they shift their weight from one side to another, it becomes apparent they are on low cushionlike platforms that enable them to float -yes, like waterlilies - across the floor.
For most of ''Pond,'' the dancers propel themselves into different patterns and configurations. Only in a few instances near the end do some jump or leave the floor. The tour de force is of choreography entirely based from a sitting or lying position and so theatrical in its imagery that the audience loses sight of this underlying formal device. Instead, Mr. Nikolais creates a lush watery universe, not without some minor tensions. As the music becomes more percussive, the dancers' gestures are more emphatic.
ANNE BELMONT PHOTOGRAPHY | Waterlilies and Lotus Flowers
Amid all the gliding and regrouping, shiny mirrors on the dancer's wrists send out beams of light. The dynamic variations are many. A sudden chug in the sound brings the dancers scooting by on their knees; a syncopated rhythm brings the dancers into couples, even tender ones. There is an evolution in relationships.
The singing of the witch begins the show; she summons the fairies to dance on the water-lilies of the lake, guided by the music of an orchestra of frogs and the song of geese. The frogs are the only part where the technology was bought; the rest of the ride was developed in-house.
From Wikipedia, the free encyclopedia. Categories : Dark rides Efteling Animatronic attractions.
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