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Last Saturday night at White Recital Hall, UMKC Dance Department's Spring Performance played out much like a roller coaster ride. There were ups, downs, flat sections, and parts where you wanted to throw your hands up and scream. The program was organized likewise, allowing the audience to experience a wide range of styles and emotions.

The night began with Shostakovich Jazz Suite choreographed by dance professor newcomer Ronald Tice. The piece embodied classical ballet from the pink tights and conservative costumes to the technical steps. While it was nice to see a more traditional work, it translated as very elementary. The dancers' expressions paired well with the music, which was upbeat and playful. Their execution was admirable, but they could have taken it to another level with more head and shoulder movement as well as better use of their feet in pointe shoes. The energy was on par for an opening number and the dancers were mainly harmonious, altogether doing a commendable job.

The evening's ride took an exciting and daring twist in the next piece choreographed by Sabrina Madison-Cannon. One of her better pieces, The Widows succeeded in luring the audience into the performance. The group of female dancers entranced, captured and, in the end, killed its male prey (Michael Tomlinson). Tomlinson exuded tranquility throughout, exhibiting his flexibility and his beautiful feet (a rarity in male dancers). The women, led by senior Chloé Abel, sinisterly played with fast and slow dynamics, keeping the audience interested. Abel, Tomlinson and the group as a whole danced well in this style.

Unplugged, choreographed by Paula Weber, was another piece that was danced accurately but still lacked that extra spark. The music and choreography were complementary, especially in the opening section where the frantic movement of the dancers matched the growing chaos of the music. The pas de deux music was gorgeous, but not loud enough. Kelanie Murphy and Erik Sobbe both have good stage presence but failed to connect with one another as a couple, focusing more on the audience than each other. Although this was not classical ballet, the dancers should still have run lightly and gracefully, especially in pointe shoes. The piece had an edge to it, but the dancers could have come from a more organic place to release more into the movement.

The low point of the program was the second modern piece choreographed by Rodni Williams. The curtain opened in silence as Miyesha McGriff was pulled out in a red sheet by the corps women. All that I could gather about the main premise of The Other Side was that women dressed in black danced on one side of the red sheet, while McGriff in white, danced alone on the other side. McGriff danced beautifully with a slow and pretty movement quality but lacked substantial facial expression. In comparison, the group's choreography was staccato and grounded. The women struggled to dance together, create the same lines and keep up with the music, which was overpowering and disjointed. The execution seemed messy while the choreography lacked dynamics and any real interest.

The second half of the program showcased professional choreographers both old and new. George Balanchine's Valse-Fantisie was a refreshing, light-hearted pas de six. Right from the first note, Angela Shipman stood out from the rest with her soft and dainty movement and radiating presence. She had some amazing balances in her solo and demonstrated spot-on musicality, a feature that cannot be taught. Gavin Stewart's solo was a good effort, though a little over the top. He got good height in his jumps, but needed to work at fully extending his lines. The corps was pleasant, dancing in unison and matching each other's positions and energy estimably.

Salvatore Aiello's variation of Afternoon of a Faun was lacking in comparison to other more likable versions from Vaslav Nijinsky and Jerome Robbins. The main problem was that the choreography did little justice to Debussy's captivating composition. Stewart replaced Tomlinson as the faun who was accompanied by four ethereal women. Stewart, who is not a super consistent dancer, had some nice, suspended moments but fell short of completing each motion before moving onto the next. The movement appeared awkward -  although it was not clear if that was Aiello's intention or the dancers' portrayal.

The best two works of the night were saved for the end - just like the biggest loops and scariest turns come at the end of a roller coaster ride, leaving people wanting to experience it again and again. Knowing that Les Oiseaux translates as "The Birds" brings understanding to the next piece. Choreographer Josh Beamish featureed "winged" roles from two famous classical ballets - Odette and Odile from Swan Lake and Firebird with their male counterparts.

The music, combined with the raw choreography and intriguing interpretation, left the audience wanting to see more. Especially from Brittany Duskin who played the Firebird. Dressed in red with red hair, Duskin commanded attention. The decision to have a male play Odile was confusing as well as there being two Odettes. The modern portrayal of Odette's death scene, performed by McGriff, depicted the dying swan rolling across the stage surrounded by flailing limbs and tulle. Luckily, the focus was rarely on the corps whose formations were less than stellar and whose energy lacked in comparison to the leads.

The program closed with Gary Abbott's laid back, street-like contemporary work, Purple. The short piece featured a mix of partnering, individual styles and group dancing with the dancers intermittently verbalizing their emotions. The dancers had amazing energy considering it was the last piece of the night and closed the show on a good note.

REVIEW:
UMKC Conservatory of Music and Dance
Spring Dance Concert
Saturday, April 17, 2010
White Recital Hall
4949 Cherry, Kansas City, MO
www.conservatory.umkc.edu

Cover photo: The Widows by Sabrina Madison-Cannon. Featured dancers are Michael Tomlinson and Chloe Abel. Photos by James Allison of James Allison Design.

By Laura Vernaci

Dance Contributor

Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company. 

She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008.  Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.

She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.