Alwin Nikolais's choreography, performed at Ririe-Woodbury, created new forms with fabric.

irie-Woodbury Dance Company opened its season with an intriguing performance of dancing and artistry. The “Alwin Nikolais Celebration Tour” featured seven dance segments—and they are certainly something worth celebrating.

First on the program was “Crucible,” which explored the depths of light and pattern using the human body. Four projectors and overhead lights enhanced the illusions created with reflective materials. Bright red fingers and hands in a horizontal line made for a stunning first image, which slowly progressed into more interesting shapes and colors. An abrupt switch to green legs and feet was surprising, and as the movements got faster, the effect was mesmerizing.

Eventually, the whole body was used and a sense of communication between the dancers was evident. Flesh-colored leotards and tights stood out from the black background, accompanied by electronic synthesizer music to create an astonishing scene. The whole piece almost looked like modern, abstract computer animation. This is especially impressive since the piece was created in 1985, before such technology even existed. It just goes to show how genius Alwin Nikolais was ahead of his time.

“Lythic” consisted of four dancers dressed as stone figures. Like a mysterious religious ceremony, the dancers hopped around the stage to curious, melodic music. The piece had a mystical effect, as if the audience was witnessing a sacred event.

“Blank on Blank” depicted a nihilistic society in which nothing matters. Dressed completely in white, the dancers conveyed an emotionless, colorless picture of life against a backdrop of the New York Stock Exchange. Industrial noises served as music and seemed to pound the idea into our heads that nothing in this life has a purpose.

By sharp contrast, “Finale” is based on faith and the will to carry on. The dancers held hands and performed intricate, rhythmic movements in pairs. The blue background and trance music made me think of clouds, and the piece had an overall heavenly feel to it.

An audience favorite, “Noumenon Mobilus,” was the beginning of Nikolais’s abstract investigation. In the performance, two dancers wearing stretchy metallic sacks that completely covered their faces and bodies made all kinds of shapes while standing on stools. Their look could be compared to other-worldly beings.

“Mechanical Organ” was a suite made up of six parts. It included everything from a playful stool dance to a display of fantastic flips across the stage. Juan Carlos Claudio and Trey Gillen showed off their incredible strength and partnering skills in the section titled, “Two Together.” Melissa McDonald took on the role of a “Doll with a Broken Head” with wonderful fluidity and a flexible body.

Former University of Utah student Jo Blake shone in the men’s quintet with his magnetic stage presence. Ai Fujii was charming in “Two Not Yet Together,” a duet with Brandin Scott Steffensen. In the piece, quick, comical movements were enhanced by precise musicality and they kept alive the theme of joyous interaction and gathering.

The final piece of the evening was “Tensile Involvement.” This was an exciting dance, complete with all kinds of patterns made with large elastic ribbons. Vibrating music added color and surprise. Big leaps and wild movements from the whole company made for an incredible finish of the piece.

If you missed this amazing performance, maybe you can catch it when the company goes on tour starting this month. The genius of Alwin Nikolais is still alive with this astounding display of choreography, composition, scenery and costume design. Let’s all celebrate it while we can.
marissa@red-mag.com