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ANCIENT MYSTERIES 

MorrisonDance, Travesty and Antaeus conclude CPT DanceWorks 10

Cleveland Public Theatre's DanceWorks 10 closes its month-long run with with performances on two stages by three local companies that explore dance's power to establish community and individual identity. 

In the Gordon Square Theatre, MorrisonDance presents a collection of works called Mysterious. The Etruscans — the ancient people who lived where Rome is in the centuries before it became Rome — serve as its starting point, says artistic director Sarah Morrison. She created her solo piece, "Mi Larthia" — which is inspired by Etruscan tombs and D.H. Lawrence's Etruscan Places — while studying and performing there one summer after college. It's the springboard for her current show. "I always saw the solo as a larger work," she says.

MorrisonDance features guest artist Sevi Bayraktar, who is visiting from Turkey on a residence with Young Audiences, supported by the Cleveland Foundation Fusion Project.  Bayraktar will dance a solo as part of an Anatoli Roma (Turkish Gypsy) group work that she choreographed.  The piece uses a constant hopping motion with simultaneous body-part isolations and everyday hand gestures. 

Keeping with the theme of mystery, Morrison created a quirky piece based on sculptures by  "the most mysterious person in [her] life," her husband, artist Scott Radke.  The sculptures are feminine figures wearing cone hats and black tutus, and holding blue eggs. 

Morrison and Bayraktar will perform a duet they choreographed together, mixing their different movement styles while attached to each other by costumes with very long sleeves. Finally, there's a solo choreographed and performed by Jennifer Sandoval.

Meanwhile, at the Levin Theatre, Antaeus Dance and Travesty Dance Group present a double bill: Antaeus' Prospect and Refuge and Travesty's Dawning. Prospect and Refuge is a new evening-length work with choreography by Joan Meggitt and Doug Lodge, electronic score by Bill Sallak and film by Cynthia Penter.  The piece for eight dancers examines contrasting ideas about safety/shelter versus expansiveness/possibility. Travesty's Dawning, choreographed by Kimberly Karpanty with music by Christopher Tignor, looks at new beginnings of communities and individuals, and how we respond to change.  Karpanty and her five-member cast based the movements on poetry by Henry Vaughan and Randy Guilhas, personal stories, dream journals, and a set that includes bed frames and mattresses.

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