diSiac: New cast, new 'Identity'

DiSiac's fall show, "Identity," is a lively, highly entertaining spectacle. Each piece explores both individual and group identities that fluctuate between cohesion and conflict. It showcases some of Princeton's best dancers, as well as some enjoyable choreography.

The best dance of the show is "Dissolution," choreographed by Philip Grace '09. Perhaps the most visually satisfying piece, it is also the most polished. There are four female and four male dancers; one female dressed only in black, one male only in white (presumably her husband or loved one); the others wear both black and white. With the aid of a coffin and a podium, the dancers mourn the man in white, while a soft voice sings "Gabriel." The choreography, especially the general aesthetic of the group, is well thought out and beautiful. The dancing is in sync, the spacing is impeccable, and the pervasive message makes for an emotional, moving piece.

The second act opens with another strong piece, "No I in Team," choreographed by Carey Faber '07 and Laura Fitzpatrick '08, an Executive Editor at the Daily Princetonian. The piece depicts a baseball game between a blue team and a green team, and we watch as a crowd gathers on bleachers behind them. A captivating yet simple piece, the dance is set to swing music. The spectators' movements parallel those of the team members, and the piece ends in a grand, flashy and fast swing number.

"Grade Deflation," choreo graphed by Branden Jacob-Jenkins '05 is perhaps the most innovative. All the dancers begin seated in a line of chairs facing away from the audience. One by one, they run laps in a frenzy of fast movement. The dancers struggle to outdo one another to the words "what strange machines we are." The competition increases in a medley of hip-hop and modern dance until the frenetic motion turns into choreographed fighting. The empty chairs suddenly transform into a barrier, keeping the audience safe from the wild, ruthless fight.

The lighting of the show (Bennett Glassman '07, Jeff Hill '07 and Caleb Howe '07) greatly enhances the movement on stage. It adheres to all the emotions and accentuates the movement on stage. The lighting also pays attention to the music, constructed at times to complement a strong beat.

There are, however, weaker aspects to the show. There is a general lack of variety or of creative innovation; some of the hip-hop dances blend easily together and a few of the lyrical pieces lack emotions. Among the most important elements of a piece are its meaning and motivation, but while some of the dancing is technically well-constructed, it becomes thin if the choreographer doesn't present the audience with a message behind the movement. And sexy dancing for the sake of sexiness loses its appeal after 30 seconds.

Perhaps the simplest problem of the show is the sheer number of dancers. The bulk of the dances are company pieces; that is, they showcase the majority of the group. DiSiac is large this year, and there are often too many people on stage. The magnitude works at times and has a positive impact, but the stage space is generally too small, resulting in traffic jams and constricted movement.

A large company also necessitates a large range in dancers' abilities, which is sometimes frustrating to watch.

In sum, while the choreography may be lacking in depth, many of the dancers make up for it in ability. "Identity" is entertaining and fun to watch — a surefire way to make you want to get up and dance.