Classique Dance Company has been so consistently good, one production after another, it seems almost mandatory that it puts out quality shows, but somehow complacency stepped in and the sold-out ‘Edge’ was a disappointing sell-out by Classique’s own standards.
The intensity and at times, incredible precision were there, as vivid in the piece performed by dancers Paul Charles, Travis Bowen and Ivory Williams in the opening segment. The piece was acrobatic artistry and the dancers gave us accuracy, beauty and strength.
It was classic Classique, as the trio executed on stage with that rare kind of intensity that has become synonymous with the dance school, but as the other pieces flowed, there was a lack of focus and simply no freshness. In the end, the show was hard to digest as it felt hurried and way too familiar.
By raising the bar and dishing out productions as solid and superb as ‘Zig-Zag’, Classique has put itself in a position where it is forced to perform, and there is no reason to measure the showing if a production holds it own. The ‘Edge’ failed to do just that.
And what is regrettable is that was no way of telling how things would turn out from the opening dance, which ignited instant interest with accompanying melody from the popular film, Slumdog Millionaire. Dancers Paul Charles and John Reman electrified the opening with the Indian-inspired piece, which testified to the versatility of the company’s dancers.
It must be said that Charles has matured into an incredible talent. He dances with unmatched passion and a keen sense of character. While things appeared to be falling apart around him, he was dancing like the Broadway lights were on beamed on him and his name was up in lights; it was in a way his show and there was a sense that many persons in the audience felt that.
“At least he is dancing and keeping me interested,” one patron said describing Charles. By the time intermission arrived, people were discussing the fact that a few of the dances were ripped from ‘Zig-Zag’ and that the dancers did not even dance the repeats as good as they did the first time.
The second half of the show failed to rescue the opening. It took on a Grease theme from the 1970s US movie, but lacked the bubbly feel of the dance items in the film.
Some persons openly questioned whether the dancers were tired because some of them looked exhausted, and as if the end was too far off. What was missing from that segment was some life in the dances, and while the choreography seemed fine, the dancers hardly did it any justice.
The Edge was not as edgy as projected and it turned out be among the least interesting of productions from Classique. The projection was probably too hyped or it did not live up to expectations; the latter seems fitting judging from what unfolded on stage.
