Silhouettes dance show provides release from the ordinary
Release, the year-end performance by U of T’s Silhouettes Dance Company, opened at the Betty Oliphant Theatre on Thursday night. The show included various types of dance over two acts, from contemporary to tap to hip hop to jazz.
It was obvious right from the beginning that the dancers were having a great time. The Soweto Gospel Choir sang the opening number “Hlohonolofatsa,” which mixed African and modern dance to showcase the evening’s theme of “release.” A celebratory mood emerged through the dancers’ fast-paced movements that set the tone for the rest of the show, though their coordination did falter at times.
Other notable performances in the first act included “Delirious,” performed with risky yet upbeat moves to the 2 Many DJs song “Mix for Colette” and David Guetta’s eponymous track. The flawless choreography grabbed the audience’s attention, as the dancers’ stripped their costumes throughout the number. (After the dancers threw their vests into the audience, left onstage in their bras, we simultaneously cheered and wondered whether the dancers’ mothers were alright with this piece.) Other stand-outs were the very funny tap number “Manteca” performed by Claire Young and Lauren Bajin and “On to the Next One,” which featured great coordination to popular hip-hop basslines. The act closed with the jazzy “Fosse.”
Act two opened up with “Battlestar Sonatica,” a modern dance with a hint of Indian inspiration that had eight dancers revolving around the graceful Olga Kciuk. Midway through “Illumination,” lasers lit dancers’ wrists, and they performed in perfect time with the lights. “Red Football” was gut-wrenching and emotional, while “Personal Jesus” entered sexier, more rock-inspired territory. Choreographer Krystal Boyea’s work stood out on hip-hop number “Girls Will be Boyz.” The Soweto Gospel Choir returned along with the whole cast for finale “Thina Simnqobile.”
Although there did seem to be some opening night nerves and one minor technical error, Release proved to be a fun, liberating, well-performed show. Here’s to hoping that Silhouettes keeps up the great work next year!—Tanya Debi
U of T’s Festival of Dance provides one of the best glimpses of this university’s diversity
Hart House Theatre closed its 90th anniversary season this past weekend with the 15th annual U of T Festival of Dance. Featuring everything from ballet to reggaeton, this two-night event brought together some of the university’s best dance companies to celebrate this medium in all its forms. Well-established groups like Vic Dance and the University of Toronto Dance Club performed alongside independent artists in a two-and-a-half hour show that provided for everyone.
Last Friday evening’s show began with a modern ballet/jazz piece performed by Vic Dance, who also provided various ensemble and solo pieces throughout the evening. They stood out for their solid technique as well as their ability to evoke deep emotion through movement. Another strong component of the program was ChitraLekha Odissi Dance Creations, who performed three classical Indian Odissi pieces. A quick change of pace came about with Freedance, whose act featured an a capella beat box performance accompanied by two hip-hop dancers. Finally, the cast of SMC Theatre’s production of West Side Story combined technique with comedy in their interpretations of “America” and the mambo/salsa “Dance at the Gym.”
While all the groups demonstrated great skill, a few acts went above and beyond the audience’s expectations. Some of these included Rince na Eire, whose Irish step dancing provoked plenty of cheers, and Fo’ Real Hip Hop, whose impeccable coordination and rhythm made us want to dance along. Mirage, a five-woman belly dance ensemble, amazed the audience with their grace and sensual style. And Skule Nite, the Faculty of Engineering’s sketch comedy troupe, made everyone laugh with their hilarious Backstreet Boys parody, “Skule Nite’s Back.”
The night also included some interesting surprises, including two fusion acts combining belly dance and Latin dance. While I was initially skeptical at seeing Celeste Alarcon and Danielle Lottridge dance tango in bellydance attire, their incredibly sensual act proved irresistible. Another surprise came with “Photograph,” a fusion piece performed by Ismailova Theatre of Dance and the RSA Dance Ensemble. What began as a poignant pas de deux to the “Vals de Amelie” (a dramatic piece that illustrated a woman facing her lover’s desertion) finished as an Eastern European folk dance. This unique transition provoked a mixed response from the audience, perhaps only because it was so unexpected, but the group’s talent could not be questioned.
One way to improve future festivals might be to include more information about each dance company in the program. Most of these groups are influenced by a specific cultural tradition, and it would be good to know more about the history and culture underlying their work. But in all, the evening proved a great closing for the 2009-2010 Hart House Theatre Season and a celebration of the immense talent which we have in the U of T community.—Jeannine M. Pitas
