Spotlight On … Dorrance Dance: The Blues Project
In his post What Does a Ticket Really Get You? Jim suggests that when you buy a ticket to attend a live event, you’re buying a physical ticket (often), the anticipation of the event, the entertainment of the event, the memories and reflections that follow the event, including talking about it with other people, and a change in yourself — an upgrade. He writes:
“If you go see Warhorse or the NBA Finals, you’re making yourself into something slightly different. If you see something funny, you are funnier. If you see something smart, you’re smarter. If you see an amazing athletic contest, well, you’re not exactly more athletic, but you somehow feel you’ve taken on some of those qualities. A ticket to a great show or game is not just entertainment — it’s a personal upgrade.”
After seeing Dorrance Dance’s The Blues Project at Arlene Schnitzer Concert Hall, Oregon Artswatch’s Damien Jack seems to have experienced something similar: “You know that feeling, a little bit like falling in love, that possesses you after an extraordinary performance and leaves all your senses bright and fresh and wide awake? That’s what I felt after seeing tap virtuoso Michelle Dorrance and her company of six dancers mix it up with Toshi Reagon’s aptly named, genre-expanding blues band BIGLovely in White Bird’s season closer. In spades. The feeling lingered. I needed to be out in the city, to hear the echoes of tap dance in its rhythms: the sound of a woman’s high heels tapping against the sidewalk, the electric shimmy of the streetcar, a man singing to himself while drumming out a steady beat, beat, beat against a bench in the Park Blocks. I even tried out a few steps of my own, clumsily imitating what I had just seen on stage.”
In fact, Jack loved the show so much, he concludes his article with a hope that Dorrance Dance returns … and soon.