'Beats' makes you feel like a pre-teen again

JOHN YI/YH Straight up now tell me, do you wanna love me forever? Oh oh oh.

Rhythmic Blue's spring show, We Got the Beats that Make You Dance, is a spirited trip down memory lane. The music of Janet Jackson, Paula Abdul, and Michael Jackson recalls the jazz and hip-hop of junior high days, except here the boys and girls dance together--sometimes.

The opening number, "Nasty," choreographed by Jill Catalanotti, SY '00, shows off some of Rhythmic Blue's typically confident veterans. These black-clad dancers are focused and engaging, at once drawing the audience to the beat of this Janet Jackson oldie-but-goodie. In complicated formations of kicks, hip-thrusts, and body-waves, these girls don't have to rely on their sex appeal; they know their steps and deliver them in perfect unison. Catalanotti leads, front and center, but solos towards the end of this number highlight the talent of each of the dancers.

When the next number, "The Voodoo People," opens, the dancers are still in black, but this time the outfits are more provocative and the bodies are intertwined. The dancers' animalistic contortions and the piercing music of Prodigy give this number a very different tone than the feel-good first piece.

The mood switches back when Catalanotti and Kathleen Tundermann, SM '00, return in full force with the other fearless duo, Leah Wolchok, ES '99, and Elaine Kim,
ES '01, for a delightful rendition of Michael Jackson's "Who Is It?" They shake the stage with impressive isolations, head-rolls, and kicks. But this group can't hide their balletic roots. The number carries off an interesting combination of hip-hop and lyrical moves as the pairs show off their competence in both areas.

Nina Kwon's, CC '01, "Shut Up and Dance," the Paula Abdul remix (and my personal favorite), recalls the fondest memories of all. Black suspenders, big straddle jumps, and high leaps: the only thing missing from this number is the cool cat from "Opposites Attract." Maybe the boys didn't watch enough Paula Abdul videos, though, because the girls are actually stronger alone.

"Who's Down to Crush Tonight?" also reveals the company's tendency to resort to pairs dancing whenever the boys and girls are on stage together. The pairs, in shimmering silver, resemble dancers in a club, and the turned-up sex appeal makes the viewer feel like a voyeur. But the dance culminates in a hip-hop "hoedown" between the girls and guys, relieving any feelings of uneasiness.

The African-inspired piece "Back to Life," choreographed by Kohar Jones, SY '99, and Natasha Lightfoot, ES '99, brings the first act to a close on a different note. Beginning with slow, sweeping movements, the circular dance borrows its shape and steps from African dance. But the beat quickly picks up, and the girls inject tradition with funk. Veteran dancer Risa David, DC '99, exhibits excellent presence. This number shows off the group's versatility and ability to probe outlets beyond hip-hop.

Act Two begins with a striking, sultry pose, with the women in fire-red and the men in black. This slinky and slow-moving dance is all about power and sex. First the boys lead, pushing the girls down to the floor. Then the girls come back with some in-your-face kickboxing. The dance ends with ambiguous but disturbingly sexual poses. This is no junior high dance.

"Old School, Without a Doubt" is a real treat. True to its name, Aisha Coradín, DC '01, Eliada Nwosu, TC '02, and Janson Mao, CC '02, treat the audience to some truly old-school moves. Choreographed by Lightfoot, who makes a cameo appearance at the end, the dance is familiar and fun. You'll remember the Roger Rabbit and Running Man for sure, and you'll coo at the black and white warm-up outfits. There is mild flirtation among the dancers, and Janson is tossed back and forth, but he can really move, so we don't mind.

Kristy Greenberg's, CC '01, "Janet," which follows, is just the Janet mix you'd think it would be. Rhythmic's forever-black-clad dancers weave in and out of straight lines in black hats to their namesake, "Rhythm Nation." This number's got jazz-hands, jazz leaps, and even the butterfly--everything you remember from jazz class and MTV.

"Hit 'Em Wit da Hee" brings together much of what Rhythmic Blue is about. Choreographer Mao again proves he can move, as do the other guys. The beat's still slow, but the formation allows the moves to be sharper and gives the dancers the chance to shine. Finally the guys and girls
are dancing together as a unified company. In spite of
the slower tempo, the dancers carry the energy through
to the end.

In "Here we Come," the hip-hop has slowed down so much that it is more like a traditional jazz number. Leaving the familiar territory of thunderous hip-hop and the easier sensual allure, Rhythmic Blue draws on strong steps and a good beat. The new beat's slow at times, even predictable, but that's what we love about old-school rhythm.

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