By Monica Park
Shut Up & Dance: Reflections-25 years of Odyssey Dance at Kingsbury Hall in Salt Lake City, left me marveling at the beautiful and amazing symmetry the human body is capable of. A wide variety of dance styles covering jazz, tap, hip-hop, contemporary, and ballroom are represented in this collage of 25 years of artistic achievements. Collection of pieces include works by Mia Michaels, Christian Dence, Eldon Johnson, Janalyn Memmott, and Derryl Yeager.
When Yeager, the Announcer/Founder/Artistic Director Odyssey Dance Theatre, began speaking of and reflecting on the artists performing, pieces being performed, and the history of Odyssey Dance being represented, I knew I was in for a performance full of substantial depth representative of the craft of many artists, not just those taking the stage. From Direction, Production, Lighting, Set Design, Choreography, Sound Design to the Artist performers who brought it to life, it flowed, story like, with ease.
Having no technical understanding of the intricacies of dance form, the opening act of Act I, Transitional Illuminations choreographed by Michaels, music by Eric Serra, Energy 52, Olive, The Thrillseekers carried me and moved me into a depth I was not expecting. Like being thrown into the deep end of an emotional pool without forewarning, in the most delightful of ways. Poetry came to fluid life on stage in a way I have never experienced before. Too enthralled to turn my face from the stage, I could still see clearly, in my peripheral, mine were not the only leaking eyes in the house.
Moving into Prayer of the Children choreographed by Yeager, music by Kurt Bestor the emotional and nourishing entertainment aspect of live performance was still in full locomotion. A moving, relatable piece of the plight of children, which we all have inside.
Aptly followed by Between Disconnect choreographed by Denice, music by Loscil, Deadbeat, and Irrepressibles,this piece felt like the space between, the connecting hallway of metaphoric doors, between the deeper, often contemplatively somber tones of the opening two pieces to a different energy, the energetic emergence of creative power in humankind expressed through the individual, male, female, and civilization in the latter two.
Then came SoundTrax, choreographed by Johnson, music by Edward Shearnur that felt like an expression of the first awakening consciousness of humankind. Which led into Meraki, choreographed by Johnson, Veronica Cabling, music by Theodore Shapiro, Mark Graham, Gengi and Coki, Hans Zimmer,a beautifully powerful, all male, rhythmic expression of the essence of the powerful presence of male energy.
When it rains it pours and these artists showed just how well they can dance in the rain in the closing of Act I with the piece Rain, choreographed by Memmott, music by Tori Amos, Jann Arden, and Amanda Marshall. They literally made it rain on stage, beautiful madness.
It would be short sighted to call those performers dancers, or actors, they were truly artists bringing their craft to stage. While all pieces were beautifully performed by skilled, passionate artists, a few stood out for me and pulled me in, they seemed to be living the performance rather than performing such as Casey Peterson, Amber Morain, Tommy Green and Laura Brick-Kempski.
Every aspect of this production, open to closing act, with narration was compelling. The art of the show began in the passionate story of the Odyssey’s 25-year history, the obvious dedication, joy of the artists, individual choreographed pieces, and the story weaved by thoughtfully chosen order all brought layers of depth to what was a multidimensional experience. The mix of multi-layered lighting, stage effects, and music with the synergy of the artists flowing, creating images with their bodies was an impactful experience I will not soon forget.
Dance Fever, a compilation of pieces choreographed by Yeager, Allison Thornton, Jessica Holker, Rick Robinson, and Peiter Mortenson set to the music of Bee Gees and various artists from Saturday Night Fever burst onto stage in classic 70’s disco style, disco ball and all for Act II. While Act II was composed of various pieces including Staying Alive, Emotion, Boogie Child, More Than a Woman, Fifth of Beethoven, Boogie Shoes, Jive Talkin’-Odyssey 2, Calypso Breakdown, Tragedy/How Deep is Your Love, and You Should be Dancing, it felt more like paragraphs in a chapter while Act I pieces felt more like chapters.
Brandon Glass often took center stage throughout various pieces, being highlighted in Boogie Child. While Mortenson’s attitude and energy showed, he was definitely in is element in this dance style.
The artist, both the dancer and actor-performer in them really came shining through, as well as those of all the artists in ways I didn’t recognize in Act I. The frivolity was contagious, had me dancing in my seat.
Besides the talented artists already mentioned Brooklyn Johnson, Lydia Forsgren, Meredith Christensen, Bailey Evans, Amanda Kier, Madee Kunz, Aubrey McCleary, Erzsi Bernath, Hope Parker, Liz Pena, Rachel Perry, Darby Jones, Diego Ballesteros, Ramses Contreras, Ryan Moguel, Samantha Jo Ruotsi, Whitney Wilson, and Sage Swenson all showed off their commitment to their craft by giving a performance full of depth, variety, and life.
True to Odyssey’s declaration, Reflections-25 Years of Odyssey Dance is suitable for all ages, 6 and up who can sit still for an extended time.
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