Austin Meets Athens Show, February, 1996
- By Sherry Smith
Originally published in the Austin Belly Dance Association's
OPA Newsletter,
April 1996
Bahaia's "Austin meets Athens" show, starring Rhea,
was billed as an "All Star Show". In this case, that turned
out to be an accurate description, rather than just a fancy title. All
of the performers were capable dancers with varied and interesting dance
styles and personalities. I'll say more about them in a moment.
The crowd began arriving at7:15, and the group grew and grew and more
chairs were added. It was great to see this kind of a response to an event.
As is usual for Austin, so I hear, it was unknown until the last moment
how many would actually come to the workshop or show. But, there were
capacity crowds for both. Congratulations, Bahaia!
Before the show, there was a wonderful buffet table set up. It was the
best spread I've seen at such an event in a long time. There were the
usual chips and cheeses, but also stuffed grape leaves, pita bread with
cucumber dip and various vegetables and sweets, as well as various soft
drinks and wines. This was a great crowd pleaser, and I heard many fine
comments about this.
The show started around fifteen minutes late due to seating the extra
people and trying to adjust sound and lighting with a crowd already there.
Other than that, it was what I consider a perfectly timed show: one hour
of dancers, a half hour intermission, then another hour of dancers.
The stage setting was simple and lovely, one could say "classic".
There were white Greek columns of various heights and multi-shaded blue
cloth draped over the stage opening, creating a frame. A lovely Persian
carpet covered some cords that the dancers may have had trouble with otherwise.
I like the arrangement of the sound system which had speakers up front,
facing the audience. This way they are not blaring directly into anyone's
ears. Also, the MC, Bill Crowell (Mila's husband) actually pronounced
the names of the performers correctly. This talent has been sadly lacking
in some MCs I've heard.
Some of you may think this commentary too long or detailed, but I hope
my comments may be helpful to anyone thinking of sponsoring a show. And,
for those who may be new to this sort of thing, I hope you will realize
how many elements go into making a successful show. Please, when you enjoy
a show, track down the frantic sponsor and tell her so - or write a note
and tell her what you liked best. Show sponsors deserve our thanks and
support.
Now, back to the dancers. The following comments are not meant to be
all-inclusive. Much could be said about each performer. These are just
the brief notes I took while enjoying the show, about the things that
struck me, personally, about each dancer.
Amira had an interesting variety of moves. She also held her arms in
lovely poses that were not distracting from her other moves. Julianne
was fun to watch. She had great eye and facial expressions and obviously
connected with the audience. Mila exudes sweetness. She has a very feminine
style. "Akasha Winds" (Mila's troupe of Amira, Jenna, Numera
and Sara) was very colorful, both in their costuming and their playful
dance routine. Judy played zills! Not many dancers seem to do so these
days. I especially liked her feet and leg moves, her kicks, and her use
of her skirts to accent her moves. Pat Taylor has the modern Egyptian
style down pat (pun not intended - I realized it after I wrote it.) "Sahara
Dreams" (Almaazah and Jeanette) are always wonderful. They had guts
to do an unrehearsed duet in-between two choreographed pieces, but pulled
it off with panache. (Almaazah gets special mention for best de-tangling
of a costume while continuing to dance.)
Bahaia looked much less tense while dancing than she did before the show.
It always amazes me how someone can do all the workshop and show preparations,
and then get up there and perform as if they've been relaxing all day.
"The Goddesses" (Numaira, Sapphire and Roubina), doing the "Cairo
Hustle" was a great, humorous, wonderful treat. Such fun numbers
really spice up a show.
And finally, Rhea, who certainly didn't look or dance like she was 54.
(She gives me hope that I have a lot of dance years left.) She has a very
relaxed, loose style that reminds me of "the good old days",
at least along the East Coast. She did floorwork, including a Cleopatra
roll and reclining shimmy. I also enjoyed the way she used the stage pillars
as props during her dance, draping her veil on one and laying her zills
on another.
I was a tiny bit disappointed that she didn't use much of her workshop
material in her performance. I'm told that it was because she dances that
way in Greece all the time and while in America she wanted to do something
different. So, I guess I can forgive her for that.
I recognized all the music she used as I have it all. It was various
selections from a group called "Desert Wind".
I am told that it is traditional to end such articles in a traditional
way, and since I am new here and this is my first such article, I will
use this time-honored closing. "All of the beautiful dancers had
a wonderful time".
