Playful parodies 

Funny Feet
Dance Kaleidoscope
Indiana Repertory Theatre
Jan. 3-6

In Dance Kaleidoscope’s latest, Funny Feet, lovers caught in candid camera-like moments merge Mozart music with all-too familiar situations, highlighting the ever-delightful character dancing of Jillian Goodwin and George Salinas as they spar to the tune of Figaro.

Brittany Edwards officially debuts with the company in “Hush,” a jaunty tip of the hat to traditional music arranged by Bobby McFerrin.

Pirates, sailors and damsels who cause distress boisterously whirl Gilbert & Sullivan into an anthropomorphic tornado of color.

Company members spin out of Wendy Carlos’ 1968 multiple Grammy Award-winning “Switched on Bach,” played on an early Moog synthesizer.

With Funny Feet, Dance Kaleidoscope continues sharing from its Ashland, Ore., repertoire, giving those of us who didn’t cross the continent a taste of their summers with the Shakespeare Festival. The freer choreography shows us a locally hidden side of David Hochoy. With “Merry Mozart,” we experience a slice of street theater that engages with its over-the-top observations. Multidimensional costumes by Lydia Tanji are especially noteworthy. They make up for the somewhat uninspired lighting.

Britanny Edwards presents with an attitude that energizes. She powerfully commands the stage while she’s coyly endearing herself to us in the seats.

“G& (A Gilbert & Sullivan Comedy)” takes risks that warm the heart and delight the spirit. Dedicated by David Hochoy to his mother, Joyce Hochoy, this work is made all the more delightful with shimmering costumes by Cheryl Sparks. The Pirates of Penzance are indeed birds of another feather; the fussiness of HMS Pinafore gets a scrubbing and The Mikado has never before been gifted with anything like these three little girls from school.

The premiere work, “In the Moog,” benefited from Laura E. Glover’s and Cheryl Sparks’ abilities to partner lighting and costumes with choreography. However, the much-too-loud volume detracted from truly enjoying the footwork that is supposed to mirror the intricately structured music of Bach.

Most striking about this program is the company defining itself on a level beyond the expected, the easy route, the settled-in feel of being safe. It’s fun feeling the excitement from the younger members and recognizing the mentoring of the veterans. Indiana Repertory Theatre, equally, has been an embracing space.

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Rita Kohn

Rita Kohn

Rita Kohn has been covering craft beer and the arts for NUVO for two decades. She’s the author of True Brew: A Guide to Craft Beer in Indiana.

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