Truly different drum

Maria Callas commented that even the greatest opera singer in the world could learn things from a simple cabaret singer. Though A Different Drum's fall dance performance is not exactly a simple cabaret singer, it can teach the dancers of American Ballet Theater, the Martha Graham Dance Company, or tap legend Gregory Hines something. Different Drum's repertoire and roots are truly diverse. Their fall performance draws on such varied inspirations as Indian classical dance, Irish step, tap dance, even Mortal Kombat. With exuberant dancers, an excellent performing environment, and gratifying exoticism, is there anything missing from this production?

COURTESY A DIFFERENT DRUM

It is certainly not missing humor. Beginning with a set of amusing clowns—Charlie Moore, DC '02, Erik Johnson, PC '02, and Odile Joly, MC '02—who reward the audience with a bit of lagniappe when given a piece of candy, the production has its elements of humor. Interspersed with all of the pieces are moments of great amusement that are used to great effect.

But what this production really has to recommend itself are its moments of exploration. Ballet is an omnipresent inspiration, but the strengths of this performance lie in the dance forms that are more rarely seen. The classical Indian piece, danced energetically and ecstatically by Monu Lahira, the robotic club-influenced piece done assuredly and with great style and verve by Alex Mukarbel, and the wonderfully showy duo of Elizabeth Hermann, CC '03, and Erin Flynn, ES '02, are the primary reasons to see this performance.

Dance

A Different Drum Fri., Dec. 8 and Sat., Dec. 9 at 8 p.m. Off-Broadway (behind Toad's) $5

This is not to say that the bigger numbers are not enjoyable—they are. However, many of the pieces are detached from the audience. Ballet principals often try desperately to connect to the audience in a large performance hall. Given the more intimate confines of the new performance space, A Different Drum should easily connect, but they do so inconsistently.

Oftentimes, the feeling projected to the audience is more that of the dance's difficulty than the joy or the mood of the individual pieces. The choreography, done by members of the group, is ambitious, sometimes obscuring the life of the dance. Movement must breathe as if it were sung, and this is learned with experience. Ultimately, the primary strengths of this performance lie in its eclectic program. These dancers may not be able to out-dazzle American Ballet Theater in technique, but when was the last time you saw classical Indian dance?

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