OnStage Dance Firm Season 26

Typically after I overview dance, I understand a theme that connects the assorted works inside a sure program. I didn’t discover an obvious one in Higher Boston-based OnStage Dance Firm’s Season 26 efficiency; it was extra hodgepodge of varied themes and kinds. The benefit of that could be a multifaceted image of all that dance will be, can supply. This program introduced that in spades, and fairly commendably so – which is just OnStage’s par-for-the-course. 

As maybe my one critique – or curiosity – about this system, I’m wondering if extra grouping like-with-like would have been extra grounding and satisfying. Ambiance and aesthetic typically modified drastically from piece to piece, which might really feel simply the slightest bit disorienting. A counter-argument there could also be protecting issues feeling as dynamic as this system total was, and truthful sufficient.

Much more memorably, this program gave me a way of this firm constructing a legacy, a convention, a historical past – one grounded in its steadfast mission of extending efficiency alternatives to adults of varied walks of life. “Throwback” works tipped a hat to earlier seasons. Intermittent video montages gave home windows into course of, previous and current. 

Typically talking over video of dancers working laborious in rehearsal, choreographers mentioned how they’ve grown of their craft via their years with OnStage, what ideas and stylistic approaches are presently inspiring them, and rather more. All of that has come via slightly below 14 years (with two seasons per 12 months, and accounting for COVID disruptions) of making, performing, connecting as artists and as people. All indicators level to how that can proceed for a few years to come back. 

OnStage Director Jennifer Kuhnberg’s Mein Herr, a staple of the musical Cabaret, kicked off the present. It was ever so barely quirky, with only a pinch of the enticingly sultry – a high quality that’s very true to its musical of origin. Throughout the massive ensemble, I might get pleasure from each distinctive dancer signatures and group cohesion (for instance, a basic kickline). Each approaches helped create that quirky, sultry high quality, and therein saved me totally engaged. 

Erica Thorp’s “Throwback” You Ought to See Me in A Crown adopted, with one other vibrant ensemble. The rating repeated messages that tradition levies at ladies – which the dancers met with defiant ferocity. Black costumes, an electronica beat, and delightfully offbeat motion vocabulary (on high of a powerful technical base) added to that blend a daring, edgy really feel.  

Transferring into the extra emotive modern, Emily Hong’s False Confidence introduced me in via juxtapositional sharp gestures and expansive actions. The ensemble crammed the stage with uncooked energy and emotional dedication. Maddy Dugan’s Jungle – a jazz funk piece full with excessive kicks, sparkly sequined shirts, and flashing lights – switched up the environment but once more. Dancers hit unison counts in addition to they made canons. Weaving out and in of one another’s paths, they felt linked. It jogged my memory that dance will be merely full of life, and that’s beneficial too.

With Mykayla Cohen’s What Was I Made For, set to Billie Eilish’s track of the identical title, we have been again to reflective modern. Cohen established a sensible environment with faculty desks and costumes of slacks, blouses. Evocative moments of connection and disconnection created a way of narrative at hand, however – as I believe is one thing particular about dance – that story may very well be many alternative issues within the eye of the beholder.  

Following that was a enjoyable faucet piece, of a crimson/black aesthetic as clear and cohesive because the tappers’ sounds: Victory Dance from Visitor Choreographer Maya Jain, of Pistachio Groove (with Rehearsal Director Sara Lodgen). Claps added much more rhythm and spice – the occasion was on! The rating bursted with vivacious Latin beats: factors to Jain for exploring one thing comparatively uncharted (at the least not which I’ve skilled)! 

One other “Throwback,” Catherine Shortliffe’s My Oh My, got here subsequent: a dance movie bursting with genuine feeling, contemporary motion vocabulary, and fascinating cinematography. There was a barely chilling thriller about these movers – much more in order they pale into clear, opacity rising. All of it got here collectively into one thing ghostly, one thing to resonate into bone and keep there some time. On a motion stage, the work illustrated how fundamental base motion vocabulary will be combined and molded to assist the environment at hand. 

Then got here I Discovered from Victoria Rousseau: extra heart-tugging modern, with dancers seeming to hunt one another however remaining remoted. It was not overly athletic, however had reaching limbs and gestural intricacy to dazzle. Most hanging was kinetic connection: with the facility and grounding of the stage, with fluid connection of backbone and periphery, in rhythm and in house. 

In one other notable shift of tone, a disco occasion took the stage with Allie Hahn’s The Place to Be. It was a real kaleidoscope of shade and power, bursting with infectious enjoyable – the type makes me want I may very well be proper up there on that stage with the performers! It didn’t take something exceedingly virtuosic, as conventionally outlined, to get there.  

Again to emotive modern, Kuhnberg’s Black Flies supplied a second to breathe and really feel a somber calm. Spirals contrasted linear motion, rises offset melts. As they assembled to elevate one in all their very own increased, the ensemble embodied the rating’s testomony that “no man is an island.” They maintained connection of a unique type as they circled, executing unison motion. I needed to sit down in that therapeutic connection for even longer. 

One thing extra mysterious adopted, Visitor Choreographer Raffi Pontes’ Oya. The dancers’ navy blue unitards mirrored the haunting chill within the singer’s voice (Ibeyi, with “Oya”). The dancers’ tenacity in motion solely elevated the edgy thriller filling the stage. Susan Oziemblewski’s Pay Your Manner in Ache, following that, was offbeat and mysterious another way. Wigs of varied colours, unconventional clothes, and choreography exuding pure self-confidence created a sense of being “bizarre” and proud. I commend the boldness and authenticity brimming from this work! 

That work started with a incredible faucet solo from Hannah Perry, and a full faucet piece adopted – Radio Remix from Perry herself. All we heard was pure faucet beats, as there was no rating (and it’s no simple activity to remain on rely with out one). Darkish slacks and sky blue blazers gave the sensation of assured enterprise informal, of girls lucid of their objectives and able to attain for them. 

The ultimate throwback in this system got here subsequent, Outta Your Thoughts from Naomi Owens and restaged by Hannah Perry. It opened with intriguing theatricality: of bored college students sitting at their desks, peppering time with little moments of mischief. They doodled in notebooks and threw paper balls. The bell rang, after which they actually let it unfastened. 

Sharp, clear hip hop vocabulary translated their vim, verve, and “don’t mess” perspective. It was dance telling a narrative, however not a brilliant deep or emotional one – and that’s alright. Life holds so many alternative experiences, ripe for the portray in and thru our bodies with this artwork type. 

As is customary, a finale that includes the entire forged closed this system. Every dancer might have a second within the highlight – one thing particular that this firm at all times does, and which displays their total mission: giving hard-working adults of all totally different professions and locations in life an opportunity to create, to precise, to convey somewhat extra mild to this typically darkish world. That may’t do all the pieces, however it could actually nonetheless imply rather a lot. I look ahead to seeing this firm proceed doing simply that, and I thank them for it! 

By Kathryn Boland of Dance Informa.