A cluster of dancers stand in yellow lighting, posed in nude unitards with black paint handprints. These costumes set the tone for the piece, nodding to trendy dance with the twist of a cool sample. Tenduing in a diagonal line, the dancers slide their torsos forwards and backwards whereas providing the viewers playful glances. Inversions and handstands are a staple motion of this work, introducing all of the the wrong way up moments that seem all through the evening.
This dance marks the opening of Flux by Jerboa Dance. Many smaller items make up the efficiency, woven collectively by Master of Ceremonies Brenna Duffitt. Artistic Director of Jerboa, Jaime Waliczek, is the night’s choreographer and likewise performs in these works alongside Sean Calavan, Lauran Drackett, Stella Kutz, Emily Rose, Alexandra Sipe, Constanze Villines, and Jason Perreault.
The opening work is each groovy and technical. Dancer Stella Kutz is particularly commanding, daring the viewers to satisfy her gaze with charming however delicate facial expressions. High legs and fan kicks punctuate the angular motion model with splendid hamstring flexibility. While the fabric repeats, regularly shifting group formations preserve choreography recent. Repeated choreographic motifs construct incrementally into bigger motion buildings. Geometric arms become contact partnering using sharp arms, after which later into angular human cabinets for group lifts. This structural element feels foundational to a number of of Waliczek’s works all through the evening.
In a later work titled Ballicule, Waliczek, Kutz, and Sipe bounce on yoga balls that match the colour of their athletic outfits. This work pokes enjoyable at group health, carrying a “isn’t it silly that we’re doing this?” tone. Sipe engages her internal thighs to clutch the yoga ball, turning on relevé whereas holding the ball. The choreography turns into extra outlandish over time. At one level, a dancer acts as an teacher, narrating out loud, “Give it a kiss, walk around, and bounce, bounce, bounce.” The performers kiss the yoga ball, subsequently banging their heads in opposition to it. The work supplies comedic aid however can also be effectively paced with cute dancing yoga ball preparations. It’s a deal with to observe.
Breaking up the evening is visitor circus artist Emma Curtiss, who performs on a Cyr wheel (a big wheel that spins on the bottom) in addition to a lyra (an aerial hoop hung from the ceiling). Curtiss adjustments footing shocking quickness on the Cyr wheel, elegantly spinning with spectacular management. She has nice musicality, manipulating the wheel to make sure it matches the tune at each second. Curtiss’ efficiency showcased nice power and a mastery of those equipment.
Two ballet barres stand in the course of the stage for one more work, Angles. Intentionally chaotic costumes function giant stripes, polka dots, and vibrant colours. The performers command presence as they stroll backwards, forwards and sideways, stepping below the ballet barre to vary lanes. As the identify suggests, this work has a concentrate on angular motion patterns. The clear and easy motion juxtaposes the loud costumes.
Soon, the motion builds in complexity as dancers create flat again bases for different dancers to face on. At one level, Waliczek showcases her balancing abilities by shifting with jagged arms whereas standing upright on a barre. The tone of the work exudes effortlessness, masking difficult motion with ease and familiarity. Later within the work, Villines climbs on the barre from below, hoisting herself as much as tuck her legs in whereas the barre is held off the bottom on one aspect at an incline. Angles focuses totally on sustaining this geometric motion aesthetic, in addition to discovering distinctive moments to focus on the athletic abilities of the performers. It’s an amusing exploration of choreographic patterns alongside thrilling solo moments that play up the dancers’ particular person strengths.
Flux as a complete maintains a way of lightness, even whereas incorporating some critically scary trying acrobatics (which they nail each time!). The trendy dance vocabulary is effectively built-in with the athleticism. I left the efficiency with a way of pleasure alongside deep gratitude to have each of my ft safely on the bottom.
Flux ran February 7-8, 2025 and February 14-15, 2025 at Yaw Theater. For extra data on Jerboa Dance, go to jerboadance.com.