`DANCE THROUGH TIME' CAPTIVATING SEASON OPENER

On the surface, a traveling production like "Dance Through Time" might seem like a simple technical enterprise. Put together a versatile set that travels well, a rudimentary lighting system, a reasonable amount of a choreographic history, numerous racks of period wardrobe and a recording representative of five centuries of music ... and you've got the makings of a low-maintenance road show.

Right.

Despite the casual ease with which the above requisites were recited, the real achievement of "Dance Through Time" is contained in the dance ensemble itself, a well-rehearsed, highly athletic and altogether good-natured troupe that captivated an Academic Auditorium audience of between 700-800 people Saturday night.

"Dance Through Time" was the Community Concert Association's first event of the 1992-93 season, and it is likely one of the most energized offerings for the cultural group in some time. The San Francisco-based dance ensemble put the audience through the paces of two hours of almost solid dancing. When it was over, one wondered how there was enough wind left in this company to take a bow.

Dancers in this corps are in effect entertainers, historians and missionaries, preserving and presenting years of dance heritage. The company of eight dancers recreates authentic and theatrical dances, using period costumes, music and attitudes to set the stage for their movements.

In Saturday's performance, the troupe began its journey in Western culture with dances from 500 years ago. By the time the finale was presented, dozens of dance trends from Balli of 15th century to the Hip Hop of the 1990s were explored.

Dance is the art of motion, and the auditorium spotlights shone on nearly constant motion. At times the audience could fear for the ~dancers' safety, as numerous bodies whizzed across the rather tight confines of the Academic stage. But their execution of this widely varied choreography was almost flawless.

Particularly enjoyable were: Durang's Hornpipe dance of the 19th century, a male duet which incorporated elements of mime; the Charleston of the 1920s, a whirling dervish of liberated dance steps; and the Movie Musical dance of the 1930s, which summoned the mood of many Fred Astaire-Ginger Rogers encounters.

In terms of performance, it might be good to throw in an intangible, yet very apparent, element: these folks seemed to enjoy their work. Their dancing demonstrated a willingness to work up a sweat for the good of the show and never let up for a moment. The audience gladly acknowledged this commitment to the production.

The company consisted of James Brosnahan, Carolyn Houser Carvajal, Lawrence Ewing, Corinne Levy, Douglas Magpiong, John Vardakastanis, Tatiana Virmond and Megan Watt. The artistic director of "Dance Through Time" is Carol Teten.

Though there were eight dancers, the costuming crew might as well be regarded as another on-stage character. So authentic and colorful was the clothing that it immediately transformed the setting of a relatively bare stage. From the lavish formal attire of the late 19th century cotillion to the street-sloppy look of 1980's break dancers, the wardrobe department outdid itself.

So fast and furious were the costume changes that audience members may have sensed an interesting dance was going on backstage as the troupe hustled in and out of dozens of outfits.

The Community Concert Association got its 64th season off on the right foot with this dance treat. "Dance Through Time" proved to be a highly visual, fast-paced, movable museum piece ... and delivered a bit of history that we were more than glad to discover.