Over the weekend, Reed Dance premiered Just Us…The Journey Continues. The show was their first since leaving the August Wilson Center. Despite the group’s makeover (several new company members and a smaller performing venue), they emerged as bold and fiery as ever.
The Alloy Studios was a great place to see the dancers up close and personal. The small black box allowed for many of the perks of a traditional theater – intricate lighting design, raked seating, and a lobby for chit-chat. And with its intimacy, we were able to see the dancers’ vivid expressions and the details of their movements.
Reed chose six works for the program, a blend of old and new repertoire. Terence Greene, a Cleveland choreographer who has worked with the company quite a bit, presented two joyful and expressive large group pieces. “Breath” and “Faith” both had an infectious, crowd-pleasing effect.
Each dance accentuated Greene’s contemporary and African styles, which the performers handled with ease. The costumes stood out as well. In “Breath,” local artist, Vanessa German, made exquisite dresses for the women – black and deep orange with detailed patterns. For “Faith,” Cleveland School of the Arts provided long robes for the men and bright blue, flowing dresses for the women.
“Faith” closed the show, as it always should, and had the audience clapping, singing and raising their hands as if in Sunday Baptist church, Greene’s imagined setting for the piece. Kaylin Horgan performed the female solo this time around. Her effervescence lit up the stage (maybe even the entire neighborhood), convincing and moving.
NYC choreographer, Christopher Huggins, also had two works in the show – “Mothers of War” and “The List.” The former portrayed the agonizing truths of war. An emotional duet between Antonio Brown and Rebekah Kuczma bookended the dramatic progression from the group throughout. The latter piece also described painful anguish, following one Jewish family’s horror through the Holocaust.
To break up the high-energy tempo of the show, two smaller works perfectly changed the pace. In the first half, Brown performed a solo called “Knock Knock.” The piece showed off his seemingly liquid joints and athleticism. Utilizing powerful text and a pulsating beat, Brown told the story of one man’s navigation through life without a father.
In the second half, Kaylin Horgan and Rebekah Kuczma performed a world premiere by NYC choreographer, Sidra Bell. “Now You Can Let Go” was perhaps the most unique piece in the show. With quirky, angular gestures and unpredictable partnering, the movement was sometimes tender, and oftentimes curious. Reed said the duet spoke to the women’s friendship.
Just Us… proved that Reed Dance will continue to shine under their new name. Each dancer had the versatility to perform the company’s wide range of repertory, with stamina and finesse as stunning as always.