The Independent Voice of Southern Methodist University Since 1915

The Daily Campus

The Daily Campus

The Independent Voice of Southern Methodist University Since 1915

The Daily Campus

The Independent Voice of Southern Methodist University Since 1915

The Daily Campus


Meadows Fall Dance Concert captivates crowds


By Emma Brown

It’s no secret that Meadows’ dancers have the talent, grace and athleticism that most people envy, and this year’s Fall Dance Concert did not fall short of audiences’

sky-high expectations.

Dancers captivated audiences that filled the Bob Hope Theatre Nov. 11-14 with three beautifully choreographed pieces that covered many different genres of dance. With the help of choreographers Danny Buraczeski, Robert Dekkers and Jose Limon, Meadows’ dancers put on a show to remember.

The theatre went dark, the red curtain rose and in mere moments the stage was overwhelmed with color and motion. In Dekkers’ piece, “Wild and Precious,” dancers spread across the stage in a whirl of upbeat music and outlandish dance moves, capturing the attention of every person in the audience.

There was a well-constructed balance between a series of solos and large group numbers that tied the ensemble together flawlessly.

Every costume was a rainbow of bright colors, creating a contrast between the dancers and the lights that consumed the stage.

The dancers incorporated a series of ’80s-style dance moves that had spectators in fits of giggles numerous times throughout the piece. Happiness and excitement radiated from the dancers to the audience in this joyous and memorable performance.

The second piece, “There is a Time,” choreographed by Limon, transitioned the show to a slightly darker aura.

The first half of the piece showcased the breathtaking talents of Meadows’ male dancers, depicting the strength and beauty of motion. By incorporating a series of lifts and complex combinations, these men moved across the stage with graceful effortlessness.

Women in flowing white dresses with colorful undertones joined them on stage to add a softer component to the masculinity.

Halfway through the piece the music stopped and dancers backstage used a unique series of clapping and stomping combinations that the dancers on stage moved their bodies to.

In the next moment, a woman with long flowing hair took center stage in a sinister solo of rapid movements and exciting choreography that had the audience in a trance. The piece utilized darker music and a more intense atmosphere to tell a story of darkness with a sliver of hope.

The show’s third and final piece, “Swing Concerto (1994),” choreographed by Buraczeski, was a lively and comical rendition of classic swing dancing.

Opening with a highly impressive male solo that dominated the stage with jumps and turns, it transitioned into a trio of one male and two female dancers. The three complemented one another with the way they moved across the stage in complete synchronization.

Following them were three other pairs of dancers that spread joy to the audience with their smiles and buoyant dance moves, ending the show on a happy tone.

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