When, after almost three hours, I emerged from Overture Center's Promenade Hall, I felt that Kanopy Dance Company could have done with fewer pieces in Planet Dance. But Friday night's opening performance successfully celebrated dance from around the world -- and made me want to sign up for classes in classical Spanish and Indian dance.
Planet Dance highlights Kanopy's partnerships with other local dance groups: and Three pieces by Tania Tandias showcased top-notch flamenco and classical Spanish dance. I was caught up in the dancing of Tandias, Jennifer Schmitz and Inna Rybakova, with its intricate rhythms and beautiful trappings -- roses tucked behind ears, layers of ruffles on skirts and expertly manipulated castanets. Juan Carlos Díaz Vélez's "...de planta, punta y tacón" was well crafted, a most satisfying marriage of two dance styles, flamenco and modern. The smooth and debonair Vélez partnered both Tandias and Parker, this time in pointe shoes that enhanced her beautiful feet and legs. When they were joined by more dancers, the sexy vibe switched to one of pure joy in movement, and I was impressed with the lovely dancing of Yoshie Fujimoto Kateada and Heidi Krause, both teenagers with bright futures and solid technique. I just wish that Krause looked up more, so that her stage presence matched her ample skills. The Middle Eastern pieces weren't as strong, but "Nagwa's Tabla," with choreography by Thurrell and dancers Sadira (of Riad Dance Company) and Parker, was like watching a playful conversation. Sadira's excellent phrasing enhanced the sense of fun. Parker's compelling and well-danced "moonjuice" began with a slinky pas de duex for Parker and young Isaac Robertson, who certainly held his own. The two shared a compelling chemistry as their legs swirled beneath them, experimenting with shifting weights and off kilter balances, arms wrapping around each other. They suddenly drew up hands to cover mouths as if to keep something from coming out, then pulled back on flexed feet and flung arms behind, seeming to cast off what their hands had kept covered. They were then joined by five capable female dancers in the same stylish, short black tunics. In "Pushpanjali -- Om Kaara," I was moved by the Bharatanatyam dance. The strong rhythms pounded with the feet and the precise hand movements were riveting, especially as performed by Renee Kar Johnson, a middle-school student who seems talented beyond her years. She skillfully used her large eyes to captivate the audience, drawing attention to her precise technique. In Carlos Ramirez-Araujo's "Puntos Cardenales," inspired by traditional Mayan dance, Kateada again was a standout as she pushed her athleticism to match, and sometimes surpass, that of the three male dancers. WADOMA's "A Ka Surun, A Ka Jan" was an ebullient crowd pleaser with engaging live musicians and a spirited cast. At several points, the audience's clapping and stomping feet caused my chair to shake in time to the beating drums. The love of director Othelia Cassidy for West African dance was infectious, and she shared some excellent moments with charismatic Joy Connolly. In the finale, Robert Cleary was a spinning Sufi who brought out all the dancers to reprise some of their work. The large group moved in unison to highlight parallels between the different disciplines.
