This performance by Riedel Dance Theater is dark with approximately a dozen deaths, yet it explodes with warmth and fun.  Highly imaginative, the dances are cartoons come to life.  Clearly presented characters interact in complex situations, dodging unseen birds, coming to untimely deaths.  These dances may be appropriate for children, yet, they are certainly not boring!

Edward Gorey also has been quoted in an interview for The Boston Globe as stating “ideally, if anything [was] any good, it would be indescribable.”  Well, thank you for the challenge Mr. Gorey, because this performance by Riedel Dance Theater is exceptionally good!

The Undergarden opens the program, with happy dancers dressed in an assortment of green. These dancers are at once fairy creatures and varied plant life, who are disturbed by an intruding picnicking family.  The audience becomes privy to the tricks the green dancers play on the unsuspecting family.  Fast-paced and witty, the dance ends in a climatic black out, leaving the audience to surmise the conclusion.  A comical interlude follows with director/choreographer/dancer, Johnathan Riedel, as an irksome character “The Nanny” who at once captures the attention of the audience disturbing them with his morbid smile.

The dance that follows, The Upcher’s Warbler, challenges the imaginations of the performers and the audience to create the title character.  A red scarf helps thread the storyline that twists and turns along with the agile dancers.  The physicality of the dancers is impressive, yet it is their expressiveness that surpasses the norm of modern dance.  The precision of movement combined with clarity of focus presents actions in a tight, cohesive dance; Johnathan Riedel has created a modern day story ballet. 

Another interlude follows ingeniously filling the gaps between pieces like caulk between tiles so that one segment blends smoothly into the next.  A group of flappers, danced by Andrea Brown, Maggie Lloyd and Robert Valdez, Jr., prance about the stage zestfully changing the scenery for the next part of the program.  The interlude then moves beyond a dead stage in an entertaining transition to become a mini dance number in itself… Bravo! 

Riedel conveys a quirky sense of humor in his choreography, yet makes serious music choices selecting from some of the greatest composers including Mozart for his next piece, The Ubiquitous Elephant.   A comic scene unfolds as a family plays a game of cards, the father caught up in winning while the other family members gradually lose interest.  Like a good soundtrack in a film, the music compliments the choreography adding suspense.  Conflict arises as “The Other,” fantastically danced by Kathryn Alter, threatens the welfare of the grandmother.

Following intermission the second half whirls by with The Umbra Bug and The Unsightful Nanny.  Jonathan Riedel is “The Nanny” reminiscent of Mary Poppins in a black suit toting an umbrella.  The dance unfolds into a series of unfortunate events in which the other dancers are destroyed- think “Final Destination.”  Though morbid and somewhat graphic, the dance is ingeniously choreographed to the delight of the audience.  I have never laughed so hard enjoying a dance performance!

Mary Cargill, writing for The New York Times reviewing Jonathan Riedel in December 2007 finished a complimentary review saying, “I just hope he hasn’t forgotten how to laugh!” Well, if only she could see him now!  Certainly it is Jonathan Riedel and Riedel Dance Theater getting the last laugh, as the company dances down the aisle, leaving the audience at the Joyce SoHo applauding and wanting more… more… MORE!

iDANZ Critix Corner
Official Dance Review by Lea McGowan
Performance: Ukrainian Eggs: Terrible Tales of Tragedy AlleGorey
Choreography: Johnathan Riedel
Venue: Joyce SoHo, New York City
Performance Date: Sunday November 1, 2009
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