Diversity, rhythm dazzle in 'Dancing on the Edge'

The lights dim over the packed, opening night crowd. As the curtain lifts to reveal a black abyss, fog rolls in from behind the stage. Light, pulsating, Middle Eastern music slowly fills the hushed silence, slowly creeping in as it grows increasingly faster. In the background, dancers hang from black, lattice-like pipes.

As the music quickens, so do the dancers. Leaving their posts, they begin “moving up slowing” as the music instructs, descending upon the platform by means of long balance beams. All the while skillfully and gracefully dancing their hearts out.

And so began this year’s dazzling performance by the Orchesis dance company.

The troupe, known for its modern, outside-of-the-box approach to dancing, attempted to push the boundaries even more this year and truly dance “on the Edge.” Or at least get as close to the precipice, that rocky edge between amazing and mediocre dancing, as possible. And succeed they did.

Their goals were simple: explore how to push boundaries in dance, physically, psychologically, emotionally and culturally.

Physically, they reinvented and spiced up the traditional repertoire.

In “Rat Race,” choreographed by Diana Stanton, plies were interspersed with scissor steps and swimming strokes (the arms, not the legs), kind of a kooky combination, to the “ding-dong-da-ding-dong” of its music. And in “Festejen!” the girls gave a tribal-esque dance worthy of Beyonce.

Emotionally and psychologically, they explored some of the deeper questions in life.

Kate Barton’s “Mischief” perfectly depicted the downtown bar scene and the emotions and motives behind the smiling faces. With high kicks the dancers struck each other to the ground, then gracefully toed (on full pointe) their way around the situation. Sounds like a sophisticated version of junior high, right?

The question “What matters (in life)?” was quite literally asked by Metallica in the song “Nothing Else Matters.” The dance ended with a girl spinning, alone in a pool of nothingness.

The plain, straightforward costuming and simple lighting let the near-perfect dancing and carefully selected music speak for themselves.

But the members of Orchesis weren’t the only big hits of the evening – 28 guest performers joined them.

In a daring aerial routine, Rebekah Leach truly exemplified the night’s theme on many levels.

Suspended 15 feet above the ground by merely a sturdy piece of red fabric, Leach gracefully danced – pirouettes, arabesques, spins, splits, you name it – as she slowly wrapped the fabric around her feet and hands, as if the fabric itself were a familiar, well-practiced partner.

Her slow and steady movements matched the deep, soulful vocals of Basque perfectly. And that’s just what her dance was: perfectly executed and perfectly enjoyed by the audience.

Three ethnic dances – two performed by the Philipino Cultural Exchange (PCE) and one by Imagines y Esp¡ritu – were much-welcomed, well-timed breaks from the modern-influenced dancing of Orchesis, however exciting their dancing was.

In “Maglalatik” – a mock-war dance inspired by a fight and eventual make-up between Moors and Christians over (what else?) coconut meat residue – the men of PCE used coconuts like castanets, clanging the faux-half-shells against those tied to the knees, hips, and shoulders of both themselves and their neighbors.

It was obvious they were having a good time, and that both the audience and the dancers (one fellow on the right even threw his arms up in celebration as the lights dimmed) enjoyed it.

Then, with what began with the simple tune, “Los Machetes” gradually escalated to what can only be described as an awe-inspiring feat. David Nevarez and Fernando Villanueva’s skillful use of machetes (and not just one, mind you, but two each) proved that the tool-weapon is not just for harvesting crops or pioneering a jungle trail, but really a beautiful object of art.

All together, 18 well-rehearsed dances graced the stage.

Perhaps the biggest testament to the fun and creativity of “Dancing on the Edge” was its all-company dance and finale.

Against a multi-colored, changing background, the women, in playful tops and jeans, took turns in the spotlight with The Beatles’ “Get Back” as their inspiration. It was the ’60s – fun and carefree – with a modern, booty-shaking twist.

“Dancing on the Edge” will also play through this weekend. Tickets are sold at the Alex and Faye Spanos Theatre box office for $9 (students) and $12 (general admission).