Celebrating its tenth anniversary, U of T’s Silhouettes Dance Company went through the looking glass for its year-end production, Any Other World. The show opened on Friday at the Betty Oliphant Theatre with an evening of intricate choreography and dazzling dancing.
Any Other World follows a lost girl wandering through a surreal, alternate universe inhabited by diverse groups of dancers. The theme worked elegantly as a thread to tie the disparate dance numbers together throughout the show. Arianna Benincasa was well cast as the female lead — from the moment she appeared on stage, she fully embodied the curiosity, hesitance, and naiveté called for by the role.
The first few pieces were ambitious in their size and choreography, but as with any large group number, small lapses in synchronization detracted from the impact. This improved as the show went on, and for the most part, the dancers were together and well-rehearsed. Bailey Chui’s two ballet pieces were good examples of low-key grace, showcasing the dancers’ excellent technique. The tap piece “Dynamo of Volition” was unfortunately hindered by the Betty Oliphant Theatre stage, as its surface muffled the sounds. The African-infused tap piece “Omé Yo Kanoubé” was a surprising success; the greater number of dancers made up for the subpar acoustics, an uplifting number. “Bring on the Men” was a sultry musical theatre number that brought out the dancers’ sassy sides (so much so that one of the elderly ladies in attendance commented, “All of our precious daughters have become giant sluts!”). It was followed by another strong dance, “Gone,” a contemporary piece full of interesting partner work. Act I concluded with the Wade Robson-influenced “Ramalama,” a quirky jazz number that was full of character.
Act II opened with another large group number: “Viva La Vida” combined contemporary and hip-hop in a way that would set the tone for the rest of the act. While this choreography felt overly busy at times, the contemporary/hip-hop fusion worked well in many of the later pieces. “The Pursuit” was one highlight, an engaging duet by Sean de Francia and Ashley Venturo. The second act was much darker in mood than the first, and the dancers expressed it in their intensity. The main character found herself stumbling through a nightmarish realm, “Sweet Dreams,” a schizophrenic jazz piece to Metallica’s “Enter Sandman.” The sinister tone carried over into “Initiation” which, with its striking red and black costumes and lighting, was one of the standouts of the show, featuring very sharp, strong, and synchronized group choreography. “Any Other World” was a stirring, inspiring contemporary piece and an apt namesake for the show.
The entire company came together in the finale, a well-choreographed and satisfying conclusion. Any Other World proved to be an engrossing performance that was part Alice in Wonderland, part Cirque du Soleil, and part So You Think You Can Dance; it successfully combined these influences into a unified show.
