On Thursday and Saturday nights, Adagio presented its annual spring show. Now, Adagio is an interesting dance group in that it doesn't have cutthroat auditions where the focus is on 'the best.' Because of their policy to welcome all levels of dancers, each of the 17 dances was a mixed bag of skill levels. It was evident from watching a song that some of the performers had more extensive training than others, but that is to be expected everywhere but the professional stage. For the most part, dancers were placed in songs that suited their abilities; as in a classroom, some were being more challenged than others. The evening, titled "High Performance," was split into two parts, nine performances in the first and eight in the second. Each of the songs was choreographed by a student and reflected individual personality and tastes. With 17 separate works, it's impossible to speak about all of them, but there are several I'd like to highlight as well as a few general comments that translate well for many of the dances. First, a successful dance, beyond the dancers' abilities, relies on song choice and the appropriate choreography to that song. Now, I liked the songs chosen, each different enough that they didn't bleed into the next, but not all of dances took full advantage of the rhythms of the songs used. Many times, music has built-in phrases that lend themselves well to physical expression. Some of the songs, particularly in the first half, had good, interesting movements that just didn't seem completely aware of their music.

This observation was, in large part, made possible when I would see another performance where it all came together cohesively, and there were many that accomplished this. Another important component is that the dancers are comfortable enough with the material to have fun with it. It should seem effortless even if it is difficult.

A standout performance, in style, theme, and execution, was the second song, "Adagi-Oh No You Didn't," choreographed to an Ella Fitzgerald song with flapper-inspired costumes and choreography by Olinde Mandell '04. As soon as the lights went up, I had a smile on my face, and so did the dancers. They coyly danced as their faces and hands did much of the expressing; they were playful without being silly. It was purposely reminiscent of a 50s revue, and I absolutely loved it. More importantly, the dancers loved it, which was evident in every move they made. With many of the performers in several songs, this seemed like one they all looked forward to.

Several of the other pieces in the first half were inventive and fun, incorporating hip-hop, ballet and the pop-lock dance style popularized by the MTV generation. The costumes broke away from the red-and-black theme of the first several dances as the night went on.

Song choices ranged from U2's "When I Look at the World" to Enya's "Sail Away." I liked the ballet segments, especially since they highlighted slower, more graceful movements. They were countered well by the modern feel of the hip-hop "Rock Ya Body," complete with synchronized hand claps in funky pink gloves, and the set closer, "Rock Your Body," the Timberlake song that had Stephanie Fodor '04 leading her group in a dance that had the mock-aggression of a dance-off reminiscent of West Side Story or Michael Jackson's "Beat It" video.

The second half began with one of the more creative pieces, a funny skit leading to a troupe's tap dancing without musical accompaniment. Fittingly titled "A Cappella," choreographer Julie Berg '07 led her team in a fun routine that served double-duty as both visual and musical art.
The second work, more metaphorical in nature than the rest, had two groups of ballet dancers, four in white tutus and six in black tights, with one in a white top and black pants. Everyone's face was covered by a metallic mask except the last girl. It suggested racial segregation and the efforts to have integration and harmony, but the lone girl was carried off Christ-like near the end that made me wonder whether the bridge between the two worlds had been 'burned' by discord.

In addition, I'd like to commend Alyssa Krop '04, the choreographer for "Can't Stand the Rain," for arranging a piece that had a sophisticated sensuality to it, proving that a dance can incorporate a sexual charge without being unnecessarily risqu.

Also, I really enjoyed "Conga," the show's closing number. This Gloria Estefan song demands high energy, and the ladies, probably exhausted by then, did a great job. It was fun, well performed, and set a positive tone that stands well to represent the evening.

During intermission, I thought the first half was good, it had definite highs and lows, and as with every performance, I hoped that the show would only get better. And it did. The second half was more consistent, with more varieties of songs and dance styles, and it helped to make it a good, entertaining evening for everyone. Despite a few criticisms, I found this show to be enjoyable for me and the audience. There were families and pockets of friends in attendance to support their dancers, but no one left once his friends had finished.