The dances Tran executes are as exuberant as his costume. The real nightingale’s words are performed by flutist Keith Leung, a member of Dean Starnes’ seven-piece orchestra. Deedre Wong, smaller in stature than any other cast member, gracefully dances to Kahng’s exquisite score for her lines, completing them with expressive facial expressions. Wong choreographed her role with the play’s sensitive director, Christina Lazo, a teacher at Alameda’s Dance/10 Performing Arts Center.
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Like other abstract dancemakers, King creates images that relish shape and line and refer poetically to the human condition. But King also does what few other neoclassicists do: He calls up the history of the species and, through Africanized classical steps and atypical music, our collective African origins. “Migration” does it with quiet elegance. Like a series of boxes within boxes, this dance also seems to call forth the history of our own culture and the place African traditions have had in the formation of American modern and neoclassical dance. He even seemed to be referring at one point to the renowned dancer, drummer and linguist Asadata Dafora from Sierra Leone, who performed his spellbinding “Ostrich” dance in New York in 1932 and gave Americans a new understanding of what dance could be.
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