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In its spring "Shut Up and Dance" concert, Odyssey Dance Theatre performs two programs on alternate evenings. This is a review of "Dancescapes," which includes three premieres in the first half, and Act II of artistic director Derryl Yeager's adaptation of the famous ballet "Giselle." (See the box for a comment about "Romeo+Juliet," which debuted in March 2010.)
Everything that is right about the first two pieces in Odyssey Dance Theatre's spring performance is diametrically wrong with the second two— so draw your own conclusions about your 8:30 p.m. dinner reservation.
Recently appointed ODT associate director Christina Bluth choreographed the first piece on the program, "In the Shadow." Bluth grew up dancing in Utah and became a member of ODT in 1998, so it wouldn't be unreasonable to expect her choreography to reflect many of the clichés associated with this particular genre of dance in this particular part of the country. But Bluth's work shows a confidence and talent that supersede cliché.
Bluth understands that the art of choreography is so much more than arranging and rearranging steps to music. She is young, so infusing current moves of hip-hop and pop-n-lock into contemporary jazz is a natural integration for her. And quite honestly, it's about time someone figured out how to do this successfully.
"In the Shadow" uses two pieces of music, and the transition between them gently guides the audience with lighting cues and a logical shift in movement dynamic, all to arrive at a place in the choreography where the conclusion makes sense.
In contrast, artistic director Derryl Yeager's "HEAP!" uses six songs by Imogen Heap, but the sections have no other connection. In "HEAP!," the music stops, the lights go out, the dancers walk off, another song begins and a different bunch of dancers start dancing. In the "Lights" section, prop devices in the form of light wands are randomly used, functioning primarily as a gimmick. When you have to ask why a prop is there, that usually means it's unnecessary.
Yet a winning component in Bluth's "Shadow" is the use of large, triangular sculptures as stage elements that fully contribute to the piece. They generate movement ideas, define the stage space and lend an imaginative ingredient to the relationships between dancers.
The costuming in "Shadow" is flattering and gives the piece an abstract but definite context. The incredibly talented male dancers wear black jeans and no shirts, which gives them a classical aura of magnificence, rather than Chippendale cheap. The women were also costumed to be sexy but not sexualized.
Similarly ODT's second company, ODT 2, performed a well-crafted and age-appropriate piece by Liz Imperio, a respected choreographer known for work in the entertainment industry. The costuming was suitable, while the movement style was dynamic and apposite, revealing the young company's strengths. In particular, ODT 2 member Megan Schiffman showed a wonderfully natural, yet commanding, onstage presence.
The second half of the performance featured Act II of Yeager's version of the 17th-century ballet "Giselle," most often associated with the choreography of Marius Petipa. You'll have to read the synopsis in the program to follow the plot, because this adaptation is a bit far afield from the original.
Years ago, I saw a jazz version of "The Nutcracker," performed to the music of Duke Ellington, so I know the concept can work. It doesn't work here because Yeager can't decide whether this is a ballet or a jazz piece.
Although ODT has better ballet technique than any nonballet company in Utah, it's not a ballet company, and this work simply reveals its weaknesses. As a general comment, there's so much choreographed upper-body and arm movement that Yeager leaves no visual or physical space for expression. To his credit, soloist Ben Susak was able to articulate the moments between the movement, which is what dance is really all about.
Once again, this ODT concert offers a mixed bag, as do many local performing groups. What's good here is so good that it will spark talk in dance circles throughout the year, which makes this concert worth your time.
'Shut Up and Dance'
Recently appointed associate director Christina Bluth's piece "In the Shadow" is stunning; much of the rest of the choreography is tedious.
At its March 2010 debut, Adams opined that choreographer Eldon Johnson's "Romeo+Juliet" had problems, but was filled with high-energy choreography and exceptional performers.
Where • Kingsbury Hall, 1395 E. Presidents Circle, University of Utah campus, Salt Lake City
When • "Dancescapes" plays Thursday, March 17, at 7:30 p.m. and Saturday, March 19, at 2 p.m.;"Romeo+Juliet" plays Friday, March 18, and Saturday, March 19, at 7:30 p.m.
Running time • One hour 45 minutes, including intermission
Tickets • $15-$35, plus facility and handling fees; senior, student and discounts for second program ticket; at 801-581-7100 or http://www.kingsburyhall.com.