Reviews:
January 2013
"Chairs are such a staple of modern dance that the challenge is to do something different with them—knocking them down, stepping on top, tilting dangerously high up on one leg, sliding underneath—we have all seen that before. So what Collective Force Dance Company (Fort Worth) offered in You, Me, and My Chair was a racket. When you drag a metal chair across a concrete stage
it makes a gratifyingly scratchy, grating noise, and that suited the no-nonsense demeanor of Holly Arnold, Lauren Butschek-Neisler and Audrey Kennedy." Margaret Putnam, TheaterJones
"Collective Force Dance Company starts the “textathon” with I Am Her, She is Me. Although this is the only piece where the words are recorded, the choreography—like the subsequent works—hinges around the spoken content by Keisha Breaker. Dressed in floral-print skirts and black blouses with un-tied peach ribbons, the dancers calmly and deliberately interpret the sense of female camaraderie exuded by the poet." Cheryl Callon, TheaterJones
"On a completely different note, Angie Dutton of Feel Good Dance brings reality home as she joins with other local dancers (mostly from Collective Force) in highlighting the plight of the homeless through a structured improvisation. Dutton begins on stage displaying a series of words scribbled on paper grocery bags which voice her frustrations about how her efforts to help those in need are hindered. Improvisations performed on a concert can be hit or miss, but this one definitely hits—and sticks. Some dancers play homeless people, and some are the ones trying to help. It’s a powerful moment of dance activism, one that hopefully has an impact." Cheryl Callon, TheaterJones
"Eternally Evolving, the last dance before intermission, seems to be the ultimate collaboration. Angie Dutton and Lauren Butschek-Neisler (Collective Force) represent their respective organizations with a structured improvisation as they share the stage with spoken word artist Rashard Garrett and cellist Heather Hatch. Too many differing arts on the stage, however, makes for a difficult visual and Garrett commands most of the attention with his mesmerizing vocal rhythms and quiet passion. Although the cellist plays an unusual melody, she highlights one important element missing from most of the concert: live music works infinitely better in that space."
