Dance Review | 'Magic, Mayhem, Mystery' 

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Commotion Dance Theater has long established itself in the Rochester dance community as a company that puts storytelling at the forefront of its work.

Creators Laurie MacFarlane and Ruben T. Ornelas use movement, costuming, acting and spoken word to connect with audiences. Their latest creations, presented in “Magic, Mayhem, Mystery” through Saturday, May 11 at MuCCC, feature the different art forms in three separate works.

The opening, "Études," was the most elegant and engaging choreographically of the evening. Dancers Angela Lopez, Nanako Horikawa Mandrino and Alaina Olivieri used expert control to flow in and out of long, expansive movement. The piece is rooted in classical modern dance, and the performers’ training shines through.

Each performer has a different strength, which is presented well within the choreography. Olivieri has a masterful way of using her technical expertise to emphasize details, whereas Mandrino’s movement has an effortless quality to it. In their solo, Lopez’s isolations and frantic, playful movement gives their performance a unique texture. They use their entire body to demonstrate the movement, engaging their head in sudden gestures and using facial expressions to mimic the music.

The music drives this piece, with choreography, lighting, costuming, and performance quality all matching compositions by Gyorgy Ligeti. While the choreography does sometimes surprise, such as with motifs of crab walking or using hitchhiking thumbs to initiate movement, it becomes a bit predictable with its exact connections to the music.

In the second piece, "Mexican-American Purgatory," Ornelas performs poetry by Jose Olivarez and dances to original music by Parker Callister. Ornelas colorfully demonstrates Olivarez’s words, using props and costuming which include a sequined motorcycle helmet, a headdress and ribbons which he twirls about as an introduction.

The choreography is less technical than the opening piece and has a particular focus on shaping the space. The movement is mesmerizing — but doesn’t always seem to be directly related to the rest of the work. Despite feeling slightly disjointed, the piece succeeds in being both entertaining and portraying powerful, emotional stories about questioning identity and culture.

The finale has the most storytelling elements of the evening’s works. Inspired by the folktales of Baba Yaga and Vasilia, "Bella and the Witch" leads the audience to a creepy, bizarre world of witches, moving trees and stolen light.

Mandrino is as charming in her role as Bella as Olivieri is scary in her role as the witch. With their dance backgrounds, they both demonstrate the importance of body language and control in telling a story. Olivieri is a true standout in this way; with an intricate, terrifying mask on the back of her head while her own face is also exposed. This costuming created an awareness beyond the usual expectations of performers, as each of Olivieri’s movements communicates something different depending upon which direction she faces.

Although the piece ends on a hopeful note — with Bella safely returning home after a frightful experience in the forest — the overall feeling is one of fear and otherness. The work’s strength lies in this sensation, largely created by Olivieri’s haunting way of both seducing and frightening the audience as the witch.

"Magic, Mayhem, Mystery" runs through Saturday, May 11 at MuCCC, 142 Atlantic Avenue. Tickets and more info here.

Sydney Burrows is a freelance contributor to CITY.