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From the Dance Insider
May 22, 2001
By Maura Nguyen Dohohue

From Ancient Deities to Urban Super Heroes on 42nd Street

There are several different New 42nd Streets these, days, and I glimpsed a couple at work this weekend. One is full of ancient deities and the other full of modern day super heroes. Epiphany Theater Company's "Spun: An Ancient Urban myth" at the New 42nd Street Theater (a bit beyond the Disney World block) was strong on storytelling. NYC-based aerial dance company Antigravity's first evening-length theatrical production, "Crash Test Dummies," at the New Victory Theater . . . was a full-on spectacle. Now, if these neighbors were ever to meet and bring strong narrative together with stunning spectacle I would never refer to Times Square as "Hell-on-Earth" again.

"Spun," written, directed, and choreographed by Zach Morris, mixes various mythologies from Ancient Greece to African into a contemporary theatrical journey. Morris's production is a great example of the continuing importance that ancient stories still play in the modern world. Mythologies all over the world have inspired some of the finest productions of poetry and art, both ancient and modern. They appeal to a wide range of audiences because they can provide audiences with some of the grandest fictions ever created.

As Storyteller/Griot, a charming Leslie Jones narrates the tale of Ananse, a mixture of the youngest of the Three Fates who weave the fabric of mortal lives and Ananci, the trickster spider of many West African legends. Here Ananse, in a vibrant though often overplayed for the space performance by Suzanne Cerreta, is an impetuous troublemaker who tricks Death in order to save the soul of her beloved Mason, played by Jared Gradinger. Tori Sparks's Lady Mors (Death) is as smooth as cool, silken sheets. She oozes the kind of seductive comfort that sleep offers as you freeze to death. Robert L. Taylor, ensemble player, offers refreshing levity throughout the show.

The production included a great score by MMMedium, and the presence of a live DJ during parts of the show created some feeling of an urban underground party . . . The group dances worked well. In particular, a constantly shifting trio, in a pretty tight space, was athletic and exciting. In fact, I found my attention was usually drawn to the action happening behind a scene. The incidental background choreography was often more engaging than what the main characters were doing. Of course, in such an intimate space it was difficult to get a sense of spatial patterning and distance. The New 42nd St. Theater has a great feel to it but Morris's vision could use more room...