They've got the rhythm and they've got music

By Emily Levine

PATRICK MCGARVEY/YH

With a dining room converted to a stage and a repertoire that includes the kind of dance most Yalies practice at Gecko, Rhythmic Blue's challenge is to make its show, Wanna Be Startin' Something, feel like a performance instead of a night of virtual hip-hop with the perfected moves of a cheerleading championship. The first number and the show's namesake, Wanna Be Startin' Somethin', featuring six girls decked out in exercise outfits moving swiftly in and out of pyramids and formations with precise head and arm movements, threatens a cheerleading victory. Nevertheless, I was impressed by the varied coreography of Nina Kwon, CC '01, whose facial expressions and "spunk" supply the energy needed for such a dance.

Rhythmic Blue's first act intersperses traditional hip-hop routines with more creative attempts at personal expression and theatrics. "Boot Camp," choreographed by Terri Davis, SM '99, and "Make My World Go Round," choreographed by Mark Reyes, PC '98, are two such attempts to set hip-hop in a new context. But while I appreciate the variety, these numbers lack the energy and precision of the first number. "Frozen," choreographed and performed by John Patrick Higgins, TC '98, and newest member Terah Maher, DC '99, is one of the better attempts at innovation. The duet takes us to the dream world of a Madonna video with its mirror imaging and contortionist qualities. Unconstrained by the limits of traditional dance, performers explore shapes and positions never taught in ballet class. Prima-ballerinas obsessed with technique and form need not watch.

"Breathe," choreographed by Lauren Rivera, CC '00, is a similar highlight in the show. Set to a tune by Prodigy, this hot silver number demonstrates not only style, but flexibility and grace, as eight girls do kicks, head rolls, and hip-thrusts, ending up in a picture-perfect pose. The dancers achieve intense eye-contact with the audience that is a welcome respite from the plastic smiles of the work-out numbers. Risa David, DC '99, stands out for her sexy but tough quality, drawing our eyes with her violent kicks.

In "Gett Off," choreographed by the fearsome duo of Jill Catalanotti, SY '00, and Kathleen Tundermann, SM '00, I finally got what I was looking for: exhilarating hip-hop with the jazz of personal expression and individual style. These black-clad veteran dancers evoke the dramatic allure of a nightclub scene with their sharp, riveting, grinding twosomes. Tundermann and Catalanotti are a delight to watch, bringing precision, energy, and individual expression to the dance. This is Rhythmic Blue at its best.

"Don't Call It A Comeback," the opening number of Act II, continues the revitalization of the end of Act I in spite of the LL Cool J. Choreographed by Larra Pleasant, DC '00, and David, this number features seven girls once again in exercise garb, this time attacking the audience with strong definitive movements, kicks, and punches that would make Mike Tyson jealous. Only their flying ponytails and hip-thrusting grace give them away. My eyes are still on David, though, whose mean and scary kicks draw attention to her 5' 2" frame. "No, No, No," choreographed by Shika Papoe, MED '01, features dancers dressed in black and white, moving in and out of pairs in stark contrast. In spite of the new prop (they now have chairs), they offer jazz that is sexy yet tough. Are we noticing a theme?

And yet, the lyric piece, "High Flying, Adored," confused me. Choreographed by Elin Eifler, TC '00, this number, which abandons the black mystique for pastel scarves and collared shirts, highlights the "sweeter side" of Rhythmic Blue's dancing ability. The advantage of the free spirit of contemporary dance is to explore new boundaries; this dance does not test those limits as creatively as "Frozen" does. Instead, these "rebel ballerinas" perform balletic combinations intermixed with spread-eagle knee slides; I wonder whether this is artistic expression or just sloppy pirouettes.

"Megalomaniac," highlighting Higgins, Maher, and Amanda Kaplan, ES '00, proves what we already know but sometimes forget amid all of the flying hair and shaking hips: J.P. can really move. Although this number at times looks more like a ménage-à-trois than a dance performance, the dynamic between the three dancers is invigorating.

In the penultimate number, Rhythmic Blue achieves success with a familiar piece way inside their comfort zone. "Gasoline," choreographed by Elaine Kim, ES '01, is an exciting hip-hop number; the group even forms a gigantic human wheelbarrow. Kim stands out as a result of her grace and unique style. But I began to feel as if I was watching the same number again, only this time the dancers wore jeans and black T-shirts. Needless to say, I appreciated the creativity and depth of "Even in New Haven," choreographed by Aisha Coradin, DC '01, which combined lyric movements and mild theatrics in a dance against violence.

Wanna be Startin' Something is a good mix of predictabilty and risk-taking, a show that explores the possibilities of artistic expression in contemporary dance. The choreography is creative and impressive, if inconsistent, and is supported by a strong wave of hip-hop that is, at its best, energizing and invigorating. Without a doubt, this is a group that I would want to go with to Gecko.

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