I was asked to write a review or rather an “impression” in third person of opening night of the show in which I am currently dancing. Don’t they know I’m biased? And quoting relatives, no less? At any rate, when you are in a show it is difficult to know what others will think of it. While I trust the judgment of the artistic director, my friend and dance mentor, Nancy Cranbourne, it is still hard to ascertain how audiences will respond to a show that is such a mélange of styles – everything from serious modern dance to theatrical sketches. As usual, Nancy and the rest of the crew (director, lighting designer, and choreographers) were able to establish segues that unified the show into a dynamic whole.

The pieces Nancy performs are my favorites, especially when she and Wade present Mandy and Bebe, which is full of humor and wonder. Wade creates brilliant pieces for the two of them - rich material that allows their talent to shine. They exhibit impeccable timing, expression and vulnerability. Nancy is beautiful in her willingness to be totally open and vulnerable and that creates a channel for spontaneity and creative expression, which allows her to connect with the audience. Many performers resist this kind of intimacy, but that it is an imperative ingredient to inspire an audience to identify by looking into their own hearts and souls. We, the observers, feel the depth and warmth of both of their spirits and appreciate their incredible senses of humor. Nancy's solo is also riveting – a personal testimony to her experience around the death of her mother, and when I watch it, I weep as I contemplate the Hellacious path I walked when my elders moved on, most recently my paternal grandmother, Margo (or Nonnie as we all knew her). I used to talk to her on the phone every other day, and her death leaves a huge void in my life. I realize that my grandparents are near me, but I miss them with every fiber in my body.

I must digress momentarily... I went to pick up my mother and aunt from the airport. My mother gave birth to me when she was 22 years old and divorced when I was two, so I spent a good deal of time with my maternal grandma, Mutti. She used to call me her fourth child. I relished a closer relationship than usual with both grandmothers (and fathers) by virtue of the fact that my parents were young. At any rate, I parked in the garage at the airport and as I climbed from the car, I was thinking about Mutti. I looked down and between the toes of my shoes, on the asphalt, was a neat, white piece of paper. Written across it in black marker were the words: I LOVE YOU! Sure it’s coincidence... or is it?

From a dancer’s perspective, the variety is what makes performing in Sweet Release so gratifying. I move from a piece created in the spirit of ballroom dancing – elegant, flowing and refined (wearing rhinestones) – to a modern work; we are dressed in white t-shirts and men’s style pants. “Death” contemplates our ultimate vulnerability and insignificance in the big picture (and also how we find beauty and meaning in the experience of each moment). Quickly, I change into a mod look: black jeans, a simple lace camisole and lots of silver jewelry; hair on my head like Barbara Eden in I Dream of Genie. The next piece begins with a sensual, rich, mother earth trio, followed by a funky section that I am in, and halfway into this Miles Davis piece some of us quick change in 10 seconds – jeans off and polka dot top on – finishing the dance with a dynamic, sparkling, yet equally sensual, section. During intermission, I get to completely transform into a wicked (in the truest sense) red haired diva with a red fringe flapper dress and white go-go boots for a number called “I Slept with Mick and I’m not Sorry!” The crowd always goes wild when the lights come up, that is, until about 2 minutes into the number when it is obvious we are not there to entertain them, but to potentially come down, fry them up to cook and eat them. We are angry, menopausal broads in touch with our base, RED chakra (and maybe none others?). We are tired and disillusioned and accustomed to diamonds and getting our way – every time – or we’ll have a tantrum (and we do). It’s a great alter ego piece, although sometimes I wonder if there’s not a bit of truth to it. I’ll ask my ex-husband next time I see him. But then, he’s far too kind to admit the truth. I finish the show wearing studded jeans and gold jewelry and boots, and a white tank with studs. (As I like to joke – they are the only studs riding me at the time.) Nanc chose a picture of me for the posters and cards because my demeanor and pose suited the theme, “Sweet Release.” I was honored and horrified all at once, but when I saw one run over in the street, I joked to my kids: “Now I’m not only plastered all over Boulder, but also smashed.” My kids like to tell me: “Only you think you’re funny mom.” Boohoo. Ah, but I have the consolation that I can transmute my happy nature into a funny bitch when the red dress calls.

I decided that another reason this concert works so well is that it is balanced on a number of levels, including that it is pleasing to all of the chakras. Naturally, these overlap, but it is fun to decide on a representative piece for each chakra. We already know which one appeases the red chakra. The orange and yellow chakras respond to The Miles Davis number. Wade’s piece and Nancy’s solo both tug on heart strings (green chakra), the blue chakra is mirrored in Dip Twirl Glide, the ballroom piece – the voice of that number is distinct, and finally, Katie Elliot’s creation, that is at once wise, ethereal and profound echoes the qualities of the purple or indigo chakra.

Finally, here is the review that I wrote for YourHub:

Sweet Release Opening Night
by Jennifer Delaney

40 Women Over 40 in Sweet Release opened Friday November 9th at the Dairy to a crowd that went wild. The show is no ordinary experience. Sweet Release is the blend of dramatic and comedic theater, as well as dance performance – both modern and jazz. Variety is what makes the show unique and compelling. “I had goose bumps the whole time!” declared audience member, Dr. Pie Frey.

Dedicated to artistic director Nancy Cranbourne’s mother who died in June, there is plenty of comedic relief, but the show includes poignant pieces that inspire us to contemplate our relationship to death and, on the other hand, to acknowledge our appreciation for life.

“It was like a tapestry,” remarked another audience member, Helena Valenzuela, who traveled from Tempe, Arizona to see the show. “I loved the interspersed humor and drama and how I never knew what was going to happen next; I was riveted the whole time!”

Cranbourne formed 40 Women Over 40 in 2003, when a group of the women appeared with Interweave Dance in the annual Boulder Jazz Dance Workshop at Colorado University; however, Sweet Release marks the company’s first full show. As stated on their web site (www.40womenover40.com) the company’s mission is “to celebrate all women through the sheer joy of dance,” with their goal being: “to perform as much as possible, encouraging all women to express themselves in the boldest ways [that] they can imagine.”

As of now, 40 Women Over 40 is invited to perform in March at two local events. Ultimately, Cranbourne hopes to raise the company’s profile to a national level by appearing as guests on Ellen or Oprah or establishing a connection with the Dove Campaign for Real Beauty or More Magazine. Recently, the troupe appeared in a segment for the Hallmark Channel. "Nancy is the real deal,” affirmed photographer, Rebekah West. “Boulder is lucky to have her!" Cranbourne’s assistant and right hand woman, Michelle Gipner gives credit to the dancers: “I think that other communities would be amazed to see what these women have accomplished!”

Sweet Release also features works by innovative modern choreographers Katie Elliot and Wade Madsen. Madsen and Cranbourne perform two duets together, including a new segment, brilliantly conceived and directed by Madsen, featuring their renowned characters: Mandy and Bebe. “It was nice to see a male in the show – he added an important spice,” observed Valenzuela.

“My husband has experienced a lot of theater and he assured me that this was one of the best shows he’s ever seen!” exclaimed dancer, Nini Coleman. Don’t miss your chance to catch one of the brightest stars of the year. Last weekend, Saturday night and Sunday matinee sold out and there are not many tickets remaining for the final weekend, so be sure and get your tickets now.