The first problem is one that most Princeton dance groups are guilty of: eXpressions' company is way too large. The Frist Theatre stage is much too small to accommodate all. I spent a number of the dances clinging to my seat, hoping the dancers wouldn't run into one another. Not only is it hazardous, but it muddles the dance and prevents the audience from seeing the structure of the piece clearly.
Another problem that arises with a group of this size is the disparity in talent between some of the dancers. While there are a number of very talented dancers, there are others who don't quite begin to compare in technical ability or physical expression.
This last issue is, indeed, the biggest problem with the show: Many of the dancers are not expressive enough. Whether restrained by the number of other dancers onstage or by their technique and experience (or by the fact that it was just a preview), most of the performers don't dance full out. They go through the steps, brows furrowed and faces shut down, concentrating on doing it flawlessly. What they may not realize, however, is that it's the emotion and expression behind the dance that the audience wants to see most.
The lack of expression is partially due to the choreography, which is another weak spot in the show. A lot of the choreography is not well crafted. It relies on typical, overused dance steps that are not particularly interesting to watch. Moreover, in many cases, the song choices for the pieces don't work. Some of the dances don't fit emotionally or stylistically with the songs they're set to and would benefit greatly from a different music choice.
The exception to these criticisms is Jessi Somple '08's filler piece "Soulful." This dance is meant only as a short diversion for the audience so that the other dancers have time to do a quick change. Somple, however, created the best dance in the show. She dances to Soul II Soul's "However Do You Want Me," which starts off as an a cappella song. Somple's captivating choreography, works in tandem with the music, using and filling the silences, embodying the voices of the singers. Then, as synth is added, her dance transforms into a strong, powerful hip-hop number. Not only is Somple's rhythmic choreography excellent, her dancing is outstanding. Here is a dancer who has both the technique and the ability to let go and express herself through dance.
There are other noteworthy dancers as well, namely seniors Natalia Naman, Gillian Pressman and Erin Muckey. All three of these dancers are at once technically skilled and incredibly emotive with their faces and bodies, giving everything they have in each dance. "Verity," choreographed by guest choreographer Brian Soames and Naman, is a particularly good showcase for the strongest dancing talent, including a guest performance by Sympoh dancers.
The costumes in the show are not particularly noteworthy. They don't add to any of the pieces, either in helping to express the mood of the piece or in emphasizing the lines of the dancers' bodies in space. At times, they even detract from the dances.
Lighting, however, is a strength of the show. It is especially good in "Apologize," beginning in dim blue and flashing white with the beat of the music until it finally warms to a brighter light as the music picks up.
eXpressions, like the other large dance groups on campus, is divided between two styles: ballet/lyrical and hip-hop. In this show, the hip-hop pieces are much stronger. And while the choreography is lacking, there are a few star senior dancers who should be seen before they graduate.
LIVE LOVE DANCE
eXpressions Dance Company Spring Show
Frist Theatre
Thursday, April 10 and Friday, April 11 at 8 p.m.; Saturday, April 12 at 10:30 p.m.
Student Events Eligible
3 out of 5 paws
Pros:
Strong senior dancers
Good lighting
Cons:
Weak choreography
Too many dancers
Costumes not noteworthy
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