Category: Dance

REVIEW: It’s TAPpening

Aria Gerson Leave a comment
RhythM Tap Ensemble perform “There’s Nothing Holding Me Back” at their winter show “It’s TAPpening”

That tappened. And it was, well, fanTAPstic.

Puns aside, RhythM Tap Ensemble drew me in from the moment the curtain went up. For the first part of the opening number, “Cry Me a River,” the stage was dark. It was all shadows and the sound of synchronized tapping.

I never would have expected a tap dance to “Cry Me a River,” but it worked. My only complaint was that the taps were louder than the music, an issue that was fixed for the remainder of the numbers.

“It’s TAPpening” was a first for RhythM. In previous years, they teamed up with another student dance group for their show. This year, for the first time, they had a full-length performance dedicated entirely to them.

In that performance, they displayed their creativity and versatility. They used a wide range of songs for their number — from an acoustic version of “Shape of You” by Ed Sheeran to the fast-paced “There’s Nothing Holding Me Back” by Shawn Mendes to the electro-house beats of “Five More Hours” by Deorro. But RhythM never bit off more than they could chew. The different styles worked together seamlessly. Rarely did something seem off, and when it did, it was fixed by the end of the number.

However, the highlight of the show for me wasn’t any of those songs. It was “Acappella,” the first half finale. As the name indicates, the number eschewed a song altogether. Instead, it created its own song.

I often don’t like a cappella tap numbers, but this one was done well and it was stunning. The group tapped out its own rhythm, perfectly in sync. The dancing became a kind of percussion. The rhythms became harmonies. And at the end, 16 dancers stopped, leaving just one, tapping solo, still creating her own beat. She started out quickly and slowed down gradually, finally giving in to the intermission as she stopped and the curtain fell.

RhythM’s choreography burst with personality on the upbeat songs, especially “Shape of You” and “Five More Hours.” Both small-group numbers, the chemistry between the dancers was evident. In “Five More Hours,” the sass of dancers Emilia McCotter and Lexi Fata combined with their costumes — sparkly green tops and black leggings — perfectly encapsulated the party feeling of the song.

The guest numbers were also a lot of fun, and all five groups that performed were talented. My only complaint was that Photonix — a glowstick performance group — came directly before “Acappella.” Photonix’s performance was so popular it may have overshadowed the following number, the best of the show. Still, the guest numbers provided a nice change of pace and added more to my list of student groups I need to see.

Though RhythM Tap Ensemble is not one of the most popular student dance groups on campus, their show was my favorite I’ve seen so far. Their rhythm, musicality and unique choreography combined to make a show that left me captivated even after the final curtain.

PREVIEW: FLUX by Cadence Dance Company

Aria Gerson Leave a comment

The poster for Cadence Dance Company’s winter show, FLUX, lists three definitions of its title.

First, “the action or process of flowing or flowing out.”

Second, “continuous change.”

And third, “a contemporary dance performance.”

The third definition is obviously not the dictionary one, but nevertheless it fits with the other two. Contemporary dance is a study in flow, in change and experimentation.

The title not only fits perfectly, it makes me excited to see what Cadence has in store.

The first time I saw Cadence Dance Company was at Michigan’s Best Dance Crew, where they placed third. At a competition mostly dominated by hip-hop crews, Cadence’s performance was an intriguing change of pace.

Now, Cadence will put on a full-length performance showcasing their own choreography and style. A contemporary, lyrical and modern company, Cadence “presents a balance between the rigors of studies and freedom of movement,” according to their website.

FLUX by Cadence Dance Company will also feature guest performances by other student groups, including hip-hop crews FunKtion and EnCore, tap dance troupe RhythM Tap Ensemble and a cappella ensemble The Friars. The show is on Saturday, January 20 at 7 PM at the Power Center. Tickets are $7 for students and $10 for adults at the door, or free with a Passport to the Arts.

PREVIEW: It’s TAPpening

Aria Gerson Leave a comment

I first saw RhythM Tap Ensemble as guest performers at Impact Dance’s winter show. They performed a high-energy number to Zedd and Aloe Blacc’s Candyman that left me impressed.  When I began seeing signs on the Diag for “It’s TAPpening,” RhythM’s upcoming performance, I instantly wondered what else they had up their sleeves.

RhythM is unique among university dance groups in that they perform solely in tap, a style no other student organization is dedicated to. Tap focuses on rhythm and musicality, on crisp movements, on looking good and sounding better.

“It’s TAPpening” will feature self-choreographed routines from RhythM as well as guest performances by contemporary dance company Impact, visual performance group Photonix, hip-hop crew EnCore, jazz dance troupe Outrage and a cappella ensemble Compulsive Lyres.

If you’re looking for a sharp, high-energy performance this weekend, “It’s TAPpening” is the show for you. The event begins Friday at 7 PM at the Mendelssohn Theatre. Tickets are $5 for students and $8 for adults at the door, the Michigan Union ticket office, or Mason Hall.

REVIEW: The Nutcracker – Ann Arbor Ballet Theatre

Sophia McPherson Leave a comment

It’s always rather conflicting when attempting to indulge in the holiday spirit during the everlasting finals season. Time spent seeking out the festive spirit typically leaves one in guilt for time loss from studying. However, The Nutcracker was being performed on campus so this would be exempt! There were two different groups performing The Nutcracker on campus. So, I chose to see the Ann Arbor Ballet Theatre perform at the Power Center.

The opening scene takes place in the Stahlbaum Home on Christmas Eve. From the beginning, I noted that the acoustics could have been better given that they would need to compensate for not having a live orchestra pit. However during Act I, Scene I, I undoubtedly still felt the Christmas festivity transcending from an evening spent with gifts, sweets, and dancing around the Christmas tree. Unaware of the Ann Arbor Ballet Theatre and all of its members, I was utterly pleased to see so many young performers on stage. From ages perhaps as low as five years old to older teens, it was a sight to see so many young performers expressing themselves through theatre and dance.

Act I, Scene III, The Land of Snow, was a guaranteed crowd-pleaser. To my surprise, they had fake snow falling onto the stage! From the snowflake-like blue lighting and  background to the complementing snow fairy outfits and dances, this scene was aesthetically pleasing and beautifully accompanied by Tchaikovsky’s “Scene in the Pine Forest” and “Waltz of the Snowflakes.”

Act II: The Kingdom of Sweets, carries the bulk of the story and most rousing parts. During this, Clara and her newly gifted nutcracker arrive at his Palace high atop Sugar Mountain in the Kingdom of Sweets. (How could we not be the least bit of enlivened by a scene held in a place called The Kingdom of Sweets?) This scene is composed of several intensive and rather intimate waltzes that represent various ethnicities. To begin is Chocolate: a high-spirited Spanish dance. Next is the Arabian Coffee, a sultry, languid dance. Arguably, the most detailed and personal dances of them all with slow, thoughtful movements in sync with their partner. Coffee was the most expressive dance where the audience had the chance to analyze each intentional movement according to the music. In all fairness though, Coffee is the lengthiest and has the slowest tempo of all six dances, so this impression may be biased. Following Coffee was a much more upbeat, high-pitched lively and athletic Chinese inspired dance called Tea. To trump Tea’s lively nature, Trepak outperforms its predecessor with a much faster-paced beat in light of a Russian folk dance that is filled with bravura. To close out the divertissements, we are left with Marzipan, which in contrast, is a pas-de-trois, performed by three people — all followed by an appearance by Mother Ginger and her beloved Sugar Plums.

The curtains begin to close as Clara’s wondrous dream begins to fade while she finds herself back at home with only memories of a magical night. Upon the curtains closing, we are left with a matched feeling in comparison to the characters as we have followed along on their adventurous journey overnight and also come to a silent, peaceful close. Even in a wicked time known as “Finals Season,” time should be allotted for the holiday classic, The Nutcracker.

REVIEW: halfway between

Aria Gerson Leave a comment

halfway between was a show about relationships.

Relationships with the other dancers, with the space, with their faces and bodies and the music.

Both the choreography and the dancers themselves captivated, really illustrating the relationships central to the storylines of each dance.

The concert, a senior showcase for three BFA Dance students, began with “b r e a k,” a piece choreographed by Danielle Fattore. Although the piece was technically not a solo, Fattore was the centerpiece while the rest of the dancers served to set the scene. Despite minimal sets, the piece painted a vivid picture of a bustling city as Fattore danced down the streets, completely ignored by the rest of the crowd going about their daily business. The piece was simultaneously upbeat and cynical, the tale of a girl unknown and unnoticed.

Both “Away With It,” choreographed by Callie Marie Munn, and “Ellipsis,” choreographed by Yoshiko Iwai, utilized the entire space in unique ways. The choreography felt animalistic at times as the dancers fought each other, as if each aimed to assert dominance over their own territory. The dancers pulled off this portrayal near-flawlessly, exerting precise control over their body and movement.

The music they used wasn’t easy to dance to, but the dancers proved they were up to the challenge, staying on the beat and hitting their accents. There were a few points where, either by accident or by design, the music stopped, but the dancers handled it with grace, still moving to a nonexistent rhythm. However, at times I felt a bit of a disconnect between the music and the choreography, almost as if the music was just something on in the background while the dancers created a story, and I would have liked to see a greater bond between the music, the choreography, and the dancers.

One of my biggest complaints about modern dance is that the dancers sometimes lack expressivity, and I felt that “Away With It” and “Ellipsis” both suffered from this. They were intriguing explorations of relationships, reminiscent of a piece of performance art, but both lacked the emotion that truly pulls me into a dance. So when Munn performed her self-choreographed solo, “With It Or It,” it was a breath of fresh air to see the emotion on her face. The piece was a lot simpler than those that preceded it, but it was also the one with which I connected the most.

Munn’s two pieces in the show were “Away With It” and “With It or It.” Given the similar titles and the fact that the music she used for both dances was from the same album, I wondered if the solo was meant to be a continuation of the group dance. However, the two pieces didn’t seem similar to me and I couldn’t find a real connection between them.

“Mend,” choreographed by Fattore, was the perfect finale. The only dance in the show to a song with lyrics, “Mend” played like a theatre performance, telling the story of a night in Paris with friends. I was especially impressed by the first soloist in the piece, Kiara Williams, whose expressions truly carried the narrative. “Mend” explored many of the same themes as the rest of the show: relationships, group dynamics, and identity.

My favorite thing about halfway between is that it wasn’t mere entertainment; it made me think about themes familiar to every college student. And that’s what marks a good piece of art.

halfway between runs for one more night, tomorrow at 8 PM at the Dance Building, and if you’re looking for somewhere to be, I highly recommend this unique show. Tickets are $7 general admission at the door.

PREVIEW: Sasha Velour at Necto

Abby Z Leave a comment

This Friday night, the 8th, stop by Necto to see the most recent champion of the emmy-winning TV show RuPaul’s Drag race, Sasha Velour!  Sasha is a Brooklyn based queen who uses her training in visual art to create dynamic and emotive performances that are a treat for the eye and the mind.  Since her win she’s traveled the world, stopping in Australia, South America and Europe, before finally gracing our small town of Ann Arbor!

The dragster events are held once a month, and feature performances from both internationally famous drag queens and tremendously talented local performers from both the Detroit area and all across the state.  This week’s event will be hosted by Jadein Black and Chanel Hunter, and the show will also feature a cast of local talents.  The event will be 10$ at the door for those under 21, and only 5$ for those over!  Necto is an 18+ venue so be sure to bring your ID.  She’s expected to draw quite the crowd so arrive early, although the first show officially begins at 9:45 with an encore at midnight!