Dance fans were reminded again in 1994 that quantity and quality are separate issues. During the first part of the year, the Baltimore area had more dance to see than in the past few years. But more can sometimes be less.
Most disappointing were the tried and true companies, such as Dance Theatre of Harlem, Hubbard Street Dance and the Washington Ballet. All turned in flat, non-memorable performances this year.
On the other hand, our local independent companies have been on a steady course of improvement. Kinetics, under the artistic direction of Ken Skrzesz, has been undergoing a choreographic overhaul. And the Baltimore Dance Collaborative with Marsha Tallerico, Nancy Wanich-Romita's Moving Company, Nancy Havlik's Dance Company and Kimberly Mackin's Dance Company -- in addition to choreographers Stephanie Powell, Chris Dohse and Binnie Ritchie Holum -- are all pounding various studio floors, producing new and often interesting dances.
The first Choreographic Showcase this year underscored the burgeoning roster of artists who are keeping the creative juices flowing.
* Creative contortions: Dance fans will fondly recall Maureen Fleming and her amazing ability to simultaneously contort our perceptions and her body. Her work, "Eros," seen as part of the Dance on the Edge Series, was magical and astonishing in its stunning imagery based on the Greek myth of Eros and Psyche.
* Asian sensibilities: Chen and Dancers, as part of the Asian Festival of Arts at Towson State University, also provided an East-meets-West aesthetic in their wonderful blending of dance and theatrical sensibilities. Visually intriguing, this fusion of ballet, modern and martial arts can be seen again when the company appears in February at Washington's Kennedy Center.
* How'd they do that?: Twyla Tharp, with a select group of seven dancers, gave us a look behind the choreographer's curtain with her works-in-progress program at the Kennedy Center. Anyone who wondered how choreographers do their job got a chance to see and hear one of the masters at work.
* Baryshnikov: For sheer technical acumen and the ability to dance a variety of styles, you couldn't beat the White Oak Project, with Mikhail Baryshnikov, at the Warner Theatre in Washington. With a program of works by Merce Cunningham, Hanya Holm, Twyla Tharp and Mark Morris, this was the ultimate "pick up" dance company.
* A love-in: The Kennedy Center and Washington Performing Arts Society paired up to give us ISO with The Bobs at the Kennedy Center. It was a cultural love-in as the dance company moved to a capella renditions of songs by the Beatles as well as original compositions.
* Street-smart: In the same vein, the Urban Bush Women offered up street-smart dancing that was tempered with a lot of heart. This company is also on the roster for the Dance on the Edge series this spring.
* Entertainment of kings: If opulence was your cup of tea, you weren't disappointed with the lavish production by the London Royal Ballet and their "Sleeping Beauty." This construction, reminiscent in set design of Andrew Lloyd Weber's fabled productions, harked back to a time when money was no object and dance was the entertainment of kings.
* Oddly glamorous: The Paul Taylor Dance Company broke in their apprentice dancers at UMBC and then presented the originals later that month at the Kennedy Center. Both events showed how Paul Taylor's works are still funny, and still oddly glamorous.
* The Very Best: The Carolyn Dorfman Company at the Baltimore School for the Arts turned in the best all-around performance this fall. This strong, technically adroit company can do it all, and Ms. Dorfman's choreography is sophisticated and skillful.