By JESSICA NEU
The Bodytraffic company flew onto the Byham Theater stage last night. Continuing the Pittsburgh Dance Councilseason, artistic director Tina F. Berkett and creative partner Trey McIntyre delivered a show that reached new artistic and creative heights. Company members Chandler Davidson, Katie Garcia, Pedro Garcia, Anaya, Gonzalez, Alana Jones, Ty Morrison, Joan Rodriguez, and Jordyn Santiago performed three numbers that showcased group dynamics, pristine partner work, and dazzling soloists.
The first number, entitled “Mayday” (choreographer Trey McIntyre), used Buddy Holly’s timeless music to tell a prolific story of how life can be full of joy, turbulence, and tranquility but also be cut short at any moment. Holly tragically died in a 1959 plane crash that also claimed the lives of singers Richie Valens and J.P. Richardson (“The Big Bopper”). His 1950s “Bo Didley” beats reverberated through the theater as the company moved throughout the stage effortlessly. Contemporary choreography punctuated with six-foot vertical leaps, fouetté turns, pirouettes, leg extensions, and so much more brought “Mayday” and all of Bodytraffic to life.
The dancers began in a straight line tapping their stomachs in time as they passed a small red airplane down their perfectly formed line. The small, controlled motions showcased how movement does not have to be large or overly synchronized to be powerful. The airplane remained a constant visual metaphor throughout the piece. This visual representation reminded audiences that we are constantly flying on our own unknown journeys. Company members danced in perfect synchronicity as soloists, duets, and trios interweaved unique choreography downstage. The level changes, partner work and tempo changes represented the multiple facets and modes of life. Sometimes, we are flying smoothly at our highest altitudes; sometimes, we are in turbulence alone or with others, and sometimes, we begin to descend and need others to lift us back up.
The dancer’s manipulation of the plane across the stage – back and forth, up, down, and around enhanced the fluidity of their movements and showcased their impeccable musicality. Their precise movements, both large and subtle were artistry in motion as we were left to question, what keeps us flying? What makes us crash? And who will be with us in the end?
Bodytraffic’s second piece, “A Million Voices,” features the music of the “inimitable” persona artist Peggy Lee. Company members adorned different black and white costumes, allowing their choreography to shine. Dancers occasionally performed in unison throughout this piece. Still, they often performed in tandem with each other while executing their own choreography. The contemporary ballet choreography paired with Lee’s spoken word pieces questioning life’s biggermeanings is a powerful reminder to continue striving to overcome obstacles and precarity in life’s darkest moments. There is a point in “A Million Voices” where the music stops, and a soloist performs to silence. At first, he is stuck in place, but then begins to run in place frantically before beginning to climb. He then collapses in exhaustion, only to get back up and keep moving. He represents nearly every measure of life in less than 5 minutes, and we felt each milestone emotionally. As more company members re-enter, Lee’s music continues as she talks about her experiences throughout life, seeing fire, going to the circus, and falling in love. As she tells each story, she questions, “is that all there is?” Dancers perform according to Lee’s words and incorporate the use of water to create a physically challenging but meaningful moment. Dancers invite the audience into moments of precarity where life may seem anti-climactic, but you should never allow someone to ‘rain on your parade.’
After a brief break to dry the stage, Bodytraffic concluded with the piece “Snap.” Choreographed by Micaela Taylor, “Snap” celebrates the music of the legendary James Brown and was inspired by diverse yet isolating moments in Los Angeles over half a century ago. From the moment the current rises on “Snap,” audiences are transported back to the Apollo Theater. Kristina Marie Garnett’s perfect period costumes brought an effervescent flare, style, and smoothness to the stage. The toe-tapping music and dynamic choreography inspired by Brown’s iconic movements brought heart and soul to Bodytraffic. As Brown’s music became increasingly mixed and textured (Shockey) throughout the number, company members maintained the slick feel of the 1960s but also articulated the struggles that individuals faced during that time dealing with issues of conformity, individuality, self-expression, and acceptance. Brown’s music remains timeless, and Taylor’s period yet modern choreography again allowed the company to thrive in unison. It also featured several dynamic solo performances.
Ultimately, Bodytraffic prompted audiences to “snap out” of social pressures and embrace each moment of life because we never know when our plane will land for the final time.
TICKETS and DETAILS for the next Pittsburgh Dance Council concert:
Malandain Ballet Biarritz at the Byham Therater on Wednesday, May 7, 2025.
Tickets at https://trustarts.org/production/96092/malandain-ballet-biarritz
Categories: Arts and Ideas, Reviews
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