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It's all up in the air

L.A. Contemporary Dance 'swears' to involve the audience in its movement and in the process tries to change movement itself.

Clare Sayas

Media Credit: Photo courtesy of David Schwep/L.A. Contemporary Dance

To the average person, contemporary movement can seem dauntingly foreign, high-and-mighty, something one "just doesn't get." L.A Contemporary Dance Company's "pinky swear," however, turns a traditionally inaccessible medium into a friendly, welcoming experience. Instead of trying to prove an abstract point, executive director and USC alumnus Michelle Mierz says, "it's about a room full of people having a great time."

Currently running at the Diavolo Dance Space at the Brewery Arts Complex, "pinky swear" blends elements of theater, improvisation and audience interaction into a compelling 90-minute piece. The young company starts its sophomore season with an attempt at dance theater, which bravely aims to explore themes from everyday life, specifically focusing on camaraderie. Each of the seven dancers claims his or her own section of the audience and uses signals to encourage response, further emphasizing the theme of reciprocity.

Much of the action derives from audience interaction, made easy by the intimate space. Push and pull drives the loosely outlined piece; the seamless progression of spoken word to tight choreography to improvisation transitions naturally. Set to an original score by Eric Mason, the choreography incorporated modern and jazz technique; however, the dancing acted as a medium for expression and narrative, not as a canned routine. By observing a series of pedestrian activities intertwined with periods of improvisation, the audience sees a day in the life through the eyes of seven distinct personalities.

The technically fabulous dancers establish themselves as a cohesive company. All seven dancers retain defining characteristics while moving as one unit when needed. Most notably impressive are the innovative choreography and the strong partner work. Directors and choreographers Kate Hutter and Kevin Williamson blow away the idea of traditional pas de deux, creating smooth, interpersonal physical dialogue that puts into motion a palpable sense of trust - a difficult task.

To attain this kind of faith between dancers, Williamson stresses the importance of "exploring space … [and] knowing each other from the inside." Hutter and Williamson, who also dance in the piece, avoid a common trap of artists who direct themselves: They seem to have been able to step outside their own perspective to fine-tune a piece that has shape and structure without repeating itself too much.

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