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They met when Dorrance was only a teen studying in North Carolina under Gene Medler.She praises Dorrance’s tap education, noting that not only were the students in Medler's youth ensemble exposed to exceptional choreography and technique, they also developed a deep understanding of dance’s place in American history. Some of these references are sadly lost to me, but Bufalino is quick to point them out.Violinist Juliette Jones stands center stage in a country-sounding tune.
Entering and exiting in an overlapping effect, the dancers, like pinballs, ping across the stage.
Their contrast reveals each of their captivating personalities and their individual connection to the music.
Sometimes, the dancers take a supporting role to BIGlovely.
The Charleston; Appalachian Flatfooting (looser and more physically expressive than traditional clogging, according to Bufalino); precarious falling off the logs (the dancers look like they’re trying to kick their feet out from underneath them); and the shim sham all make appearances.
These moments and steps aren’t arranged in an academic or pastiche way.
She looks out into the crowd and makes the softest of hand gestures, signifying for us to echo Reagon. “She’s such a strong performer that she barely had to indicate that,” says Bufalino.