DiSiac is un-'Flux'-ing believable

One almost does not know where to begin when critiquing a show that features zombies, dentists and robots like diSiac Dance Company’s fall show, “Flux.” The title works well with the dancers’ ability to adapt to different kinds of movement and pull from an array of emotions. From a Pina Bausch-esque piece by Jeffrey Kuperman ’12 to the back flips in the second half of the show, diSiac’s dancing never fails to surprise. And did I mention there’s a sex piece? Prepare yourself to breathe a little harder during that one.

There were a few pieces in particular that were a little more fluxed up than others. If you are looking for the classic battle of humans vs. robots, diSiac gives it to you in the show’s opener. Dancers in “Are We Human?,” by Rafael Klein-Cloud ’11 and Brian Jeong ’11, dive into this futuristic war with fantastic energy. “Humans” sport neon workout clothes and storm the stage with aggressive hip-hop moves. “Robots,” dressed in all black and silver masks, use sharp, rebounding gestures to give their movement a mechanical feel. I don’t want to give away the ending, but let’s just say that glow sticks end up being the winners’ weapon of choice.

“The Journey Continues,” by Adam Hyndman ’12, offers an enchanting collaboration between dance and a cappella music. The Footnotes make a special appearance on stage, standing in line against the back curtain throughout the piece. Here, strong yet fluid all-male dancing is paired nicely with controlled yet dynamic all-male singing.

In contrast to some of the show’s more uplifting, feel-good pieces, diSiac artistic director Neia Prata ’11 brings us an equally satisfying but unavoidably unsettling number, "Unstable Hands." Tackling the issue of abuse within relationships, this six-person piece makes excellent use of Berlind Theatre’s lighting. Three couples stand trapped in separate spotlights scattered throughout the expansive stage. Joshua Radin’s lyrics resonate almost too well with the dancers’ placement in the harsh pools of contained light: “I can’t make a sound in your sundrenched world.” Dancers admirably navigate the fine line between dramatic acting and emotionally exposed dancing. As all elements come together, watching this dance becomes a wonderfully painful experience.

With perhaps the most inventive use of props, “Reflections,” by Carlo Frem ’12, incorporates a freestanding doorframe that divides one dancer from her own reflection and insecurities. One can’t help but be mesmerized by the mirrored, synchronized movement. The ending of the piece is shattering in more ways than one.

While the dancers’ technique and performance presence remain strong throughout the show, the choreography is sometimes a little too formulaic and uses one too many chaines, jetes, battements or other across-the-floor warm-ups. Although a few choreographers take the easy way out with slightly cliche dance movements, the creative efforts of other dancers do more than enough to offset these occasional flaws.

“Flux” is about the unpredictability of the spirit and body, but my mind is made up when it comes to this show: Get fluxed up with diSiac this weekend, and believe me, you won’t regret it the next morning.

4.5 Paws