Reviews for Lullaby
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Brian Enos, the evening’s one guest choreographer, contributed the sure-handed new octet “Lullaby,” inspired by (and eventually set to) The King’s Singers’ rendition of Billy Joel’s 1993 “Lullabye (Goodnight My Angel).” The Singers’ close harmonies, sung a cappella, generally have an almost too sweet appeal --- but the first half of the dance is set to Enos’s harsh remix of a King’s Singers tune, chopped up into tasty techno-beats. Six dancers inhabit a hazy realm shot through with icy shafts of light; their dancing is passionate but somehow impersonal.

Then a woman enters, standing motionless in an eerily bright light, the others backlit behind her. Where they’d seemed to inhabit another world, she is otherworldly; soon a man who’s just as unearthly joins her, and The King’s Singers’ full “Lullabye” plays. Caitlin Cucchiara and Brian Hare’s duet is remarkable for its simultaneous tenderness and carved dignity, evoking the supernatural and the mortal, the elegy and the lullaby. Its sense of human frailty reminded me of W.H. Auden’s poem, “Lay Your Sleeping Head, My Love.”"

-Laura Molzahn -
Seechicagodance.com
True, the finale, by veteran choreographer Brian Enos as a guest, put the preceding works in relief with its sophistication and cagey structure. Enos, a former dancer with Hubbard Street Dance Chicago, is a pro on a roll of late, this newest, "Lullaby," an ingeniously devised scenario that begins with a large ensemble and narrows to a duet with a witty, surprising design. It has an air of sleek, dark mystery, enhanced by Nathan Tomlinson's columns of spotlight, and it is wonderfully scored by Enos' remix of stark, moody music from the King's Singers. It is a steely, mechanistic, ironic lullaby, if lullaby at all.

-Sid Smith - Chicago Tribune