David Sachs
The cello has always held a special place in my instrumental heart. With its unstoppable range over earthy-lows and ethereal-highs, no other instrument holds contest. Carter Dewberry confirms my appreciation for her instrument, performing at the Yost Theater with a strange combination of mournful melodies and toe-tapping beats.
After a brief introduction, the screen behind Dewberry brightened to show a blanket and a rain-drizzled window in the background. Slowly and playfully, musical vibrations leaped out of her cello, teasing the anticipating audience. The blanket and window evolved into several different scenes from the film, “At Knife’s Edge,” a “rags to riches fairy tale soaked in blood” directed by Michael Melzer. Dewberry had written the score for the film, and four of the ten pieces performed at the Yost 
where of her own composition.
One highlight of the night began with Dewberry alone on stage. Suddenly I heard a noise fill the room and come at me from all sides. Looking around in wonder I saw Harry Grammer pacing down the aisle to the stage – didgeridoo in hand. The audience joined my excitement at seeing such a strange and wonderful instrument, watching Grammer settle in an open seat next to Dewberry. The didgeridoo held a low, yet ghostly and mystical tone next to Dewberry’s cello, creating a haunting atmosphere.
The mood picked up considerably with guitarist Peter Sprague; joined by Jennifer Stevenson on Clarinet and Ryan Zwahlen on Oboe, Sprague and Dewberry performed an uplifting piece of Sprague’s design, entitled “Mudra.” Sprague explained his inspirations for the piece, originating from the hand positions of prayer and other gesticulations, evolving into hand positions on the guitar such as a G chord.
After a short intermission, the audience found themselves at rapt attention to Dewberry’s introduction of her next piece, featuring Emily Morrow and the George Sarah Dance Ensemble: “As an artist I always want to move about, yet as a cellist I’m confined to my seat. I love using dancers as a way to express both the artist and the cellist in me.” The following piece showcased fluid and interpretative dance movements as the dancers translated notes and tones into a visual masterpiece.
After the dancers, more moving pictures and scenes were featured on screen, this time to the tune of Dewberry and some pre-recorded beats and tracks. This was a rhythmically driven and more modern selection. Another one of Dewberry’s originals, “Ballroom Scene From ‘At Knife’s Edge’” was easily my favorite piece of the evening.
Carter Dewberry’s performance was nothing short of outstanding: a treat for the senses of sight and sound.
Photo Credit: David Sachs (To view the entire album, click here)
