The chant “B-A-C, B-A-C what?” echoed in Frist Film/Performance Theatre as the lights dimmed, and the Black Arts Company's fall show thus began. The 12-piece set was designed and choreographed to follow a central theme of high school and the various cliques one might run into at a typical, high-performing“Academy.” The show opens with a comedic and engaging video that lives up to the highly entertaining BAC standard for filler videos.
There is a smooth transition into the first piece of the show, “The (Africa)demy,” which is choreographed by Jessica Kariisa ’16. This piece is quite admirable in showcasing BAC's versatility and flexibility. The sassy grins of the dancers are contagiously energetic and grab the audience’s attention from the moment the lights come up. With the effortlessly languid vibe of the two pieces following the opener, BAC offers a nice contrast in the music choice and dance style right off the bat.
Further into the first half of the show,we see the power of the beat and just how unpredictable things can get when the beat drops in“Lose Ctrl,” choreographed by Dominique Ibekwe ’16. Costumes and props play an important role in this piece but do not outshine the impressive acting and technique of the dancers. There is a lot of hip-swinging action in this piece, and the dancers’ quick and effective transitions in dance style and persona are a testament to both Ibekwe’s choreographic vision and timing as well as the dancers’ skills.
Although certain movements in “Lose Ctrl” become somewhat repetitive, the formations are never quite the same and add variety to the choreography. The effective use of space is, for the most part, characteristic of most pieces in the show. The choreographers utilize the stage well to support both larger company numbers as well as smaller pieces. However, there are times when the number of dancers on the stage is overwhelming and detracts from the audience’s ability to engage with the performance. In these cases, the dancers' bodies are almost clumped together, and the movements seem indistinguishable.
That being said, these instances do not last long. Moreover, BAC effectively uses lighting to spotlight smaller groups of two and three. Specific lighting directs the audience’s attention to individual talent and expressions.
In the second half of the show, “The Academy Warriors,” choreographed by John Somers Fairchild ’15, stands out as a capstone piece. It completely harnesses the intense and spirited attitude BAC brings throughout the show into a dynamite piece. True to its warrior title, the dancers show traces of strength through their fierce but controlled movements and serious expressions.The sustained, confrontational nature of this piece resonates within the theater throughout the entire piece. Fairchild’s choreography experiments with tempo, and the dancers’ movements lengthen and slow with the music to create some stunning moments.
School comes to a close with “Class Dismissed,” choreographed by Ibekwe, Sylvia Okafor ’16 and Lorenzo Laing ’16. The piece gives us one last hurrah with the various cliques and students of the "Academy" while retaining its focus through strong acting from the BAC dancers who, like they have done for most of the night, completely buy into their characters and bring them to life. BAC’s “Academy” is built on a solid foundation of high energy, creative choreography and engaging acting that makes for an entertaining show.
4 out of 5 paws.
Pros: High levels of enthusiasm, creative engagement with theme, committed choreography.
Cons: Some repetitive choreography, overcrowded and distracting staging in some pieces.
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