Hungry for Hungarians? A traveling dance performance may just hit the spot.
Twirling, clapping, and chanting were fundamentals of the dance traditions showcased Thursday night at the CFA with the production "Cs?Ae?rd?Ae?s."
The show consisted of a variety of scenes in an effort to portray a present-day love story and wedding ceremony in a Hungarian village. The Budapest Ensemble hailing from Central Europe performed the music and dances.
The musical opens as the dancers begin "play-party" games. The games are based upon a love story in which a bride and groom plan to marry.
The couple faces an obstacle when the bride is abducted by a group of jealous men. As the groom searches for his bride-to-be, he is tempted by a brood of hussies. At the end, the couple finally marries, completing the habitual matrimonial ceremony in the village and living happily ever after.
Fancy foot and handwork was woven throughout the musical, choreographed and directed by Zoltan Zsurafszki.
At first, the dances seemed simple but as the musical progressed, each dance became increasingly complex and interesting. All 20 dancers exuded an enormous amount of stamina and charisma right up to the very end, keeping the audience engaged at every point of the performance.
The packed audience gave the performers two standing ovations.
The dancers' movements created their own sounds and made difficult physical feats seem gracefully possible. The dances however, were distinct from traditional American ballets, demonstrating the difference between North American culture and that of Eastern Europe.
The use of a prerecorded soundtrack was the only disappointing part of the show. It detracted from the orchestra pit's authentic music.
The men's voices were much more seasoned than the women's, clearer and more together. However, the music and dance performances outweighed the singing.
The six musicians of the ensemble, under the direction of Peter Arendas, accompanied the musical with sounds of the viola, cimbalom, bass, winds and two violins. The instrumentalists were positioned onstage along with the dancers, creating a lively theme. The audience's attention was torn between the dancers and the musical ensemble.
In one particular scene, the Budapest Ensemble musicians were located in the middle of the stage. Dancers interacted with the musicians, creating a balance between the themes of melody and dance.
Props were also used to make musical sounds. Vases, spoons and wooden objects coordinated with the instrumental music and sounds from the dancers' movements.
Bright red, yellow and green ethnic skirts and hats added to the cultural presence of the production. The costumes, similar to the difficulty of the movements, became more impressive and eye-catching as the night went on. Each scene had a significant change in the attire. By the end of the show the performers were a sea of delectable ethnic pageantry.
The audience was encouraged to join the performers at the end of the musical for an encore presentation of traditional Hungarian song and dance in the CFA's lobby.
