Ririe-Woodbury Dance Company appears to have made the decision this fall to return to the Utah tradition of thematically naming its concerts. This one is called “Parallax” — spelled out phonetically with a dictionary definition on the RW website. The word “parallax” evokes no particular imagery and, like two out of three works on the program, requires a lot of extra explanation.
Guest choreographer Raja Feather Kelly’s dance-theater piece “Pantheon” felt uncertain and incomplete, and Daniel Charon’s “Exilic Dances” pastiche on musical theater did not illuminate the subject matter, leaving only Kate Weare’s 2015 trio “Unstruck” to save the day — and it did.
“Unstruck” is a complex yet spare work that spotlighted RW dancer Melissa Rochelle Younker’s immense physical range and expressive depth. Younker has always been a dynamic and energetic mover, but now she is uninhibited and confident. Her precision and focus in “Unstruck” establish her reputation as an artist.
Weare’s choreography also gave Yebel Gallegos’ exacting technique a chance to shine and Bashaun William’s strong presence a crucial place onstage. The imaginative partnering that altered between duets and trios was satisfying enough; then in a moment of crystalline clarity, Younker’s alliance shifted from Gallegos to Williams. Williams wrapped his large hand, digit by digit, around Younker’s diminutive ribcage and she leaned into him with emotional resonance.
The lighting throughout the evening was exceptional, and in “Unstruck” evoked a somber tone. The score was a little dissonant for my taste but changed rhythmically enough to give auditory space. Costumes by Brooke Cohen were simple to show line and movement, and aptly designed to feature the nuanced upper-back choreography.
“Pantheon” was an atmospheric collage of pop-culture references with Kelly’s comment on them. He built a community onstage and they invited you to observe. You don’t really know what’s going on, but you do know it’s strange and doesn’t look like a happy place to be. The concept wasn’t fully convincing and the movement redundant. The costumes, consisting of white granny underwear and bras, white socks and sneakers, and white braided wigs, seemed like an afterthought. And watching dancers dress or undress onstage has been done far too many times already.
Charon’s “Exilic Dances” didn’t land as a parody or a serious attempt at musical theater. Dancers who perform musical theater train in that style; it’s not a joke. The piece reminded me of why the jazz dancers doing modern pieces on “So You Think You Can Dance” never ring true. If the “Parallax” program needed a lighter, upbeat work to balance the evening, the company should have pulled out Larry Keigwin’s smart, self-aware “80’s Night” from 2007. Because if you’re going to do a parody, you actually have to be better than the work you’re mocking.
Parallax<br>Ririe-Woodbury Dance Company opens its season with three pieces.<br>When • Friday and Saturday, Sept. 29 - 30, 7:30 p.m.; Saturday, Family Series Matinee “Moving Parts” (1-hour show), 1 p.m.<br>Where • Jeanné Wagner Theatre at the Rose Wagner Performing Arts Center, 138 W. Broadway, Salt Lake City<br>Tickets • $35, $15 for students and seniors; family matinee, $10 or five packs for $45; artsaltlake.org or ririewoodbury.com