The Vision of Whited

SBDT's mixed-rep program blends introspective emotions with wit

WORDS Leila Drake

Santa Barbara Dance Theater’s return to the stage was the performance we all needed to see.

Curated impeccably by newly appointed Artistic Director Brandon Whited, the mixed-rep program on Thursday, January 13 succeeded in blending introspective emotions with humor and wit, showcasing not only the versatility of the artists, but Whited’s promising vision for the future of the company.

Following in the established legacies of three beloved previous directors – Alice Condodina, Jerry Pearson, and Christopher Pilafian – Whited has brought his own signature style to the company, while honoring the roots that have established SBDT as an emblem of contemporary dance in Southern California.

The program opened and closed with new works by Whited. “to Harbor” was a meditative ensemble piece danced by company members Paige Amicon, Nicole Powell, Calder White, and Miche Wong, as well as company apprentice Riley Haley. An exploration of community and trust, the piece was grounded in lush movement, seamless partnering work, and an exceptional sense of connection between the dancers, who had only been working together a few short weeks. The closing piece “ARENA, or 1 of 4 and 4 of 1”, was a complete shift for Whited, allowing both him and the four company dancers to investigate a new performance energy. Quirky, funny, and full of memorable moments, with each dancer establishing a nuanced character in both movement and expression. Complementary in their differences, these two works by Whited were ideal bookends for his directorial debut.
 
The three central pieces were by choreographers Weslie Ching and Nancy Colahan. Ching’s duet “I Don’t Exist Anymore” was an incredible dive into spinal articulation and nuanced musicality, with dancers Nicole Powell and Paige Amicon performing wonderfully both as individuals and as a team. Colahan is one of the great artists of her generation, having performed with Alvin Ailey Repertory Dance Company, Lar Lubovitch Dance Company, and Baryshnikov’s White Oak Dance Project. A master of all her crafts, her choreography is divinely musical with full-bodied movement that satisfies both performers and viewers. Her two solos for this program, “6x9” and “OLA” (both excerpts from Pandemic Dances) were exquisite, both in conception and execution. Calder White’s performance in “6x9” was full of emotion, sensitivity, and visceral control, as he moved in and out of a rectangular swathe of light – symbolic it seems of the physical confinements of isolation and also the internal struggles between letting go and holding on. White’s dynamic athleticism led seamlessly into Miche Wong’s simply ethereal performance in “OLA”. Wong is an exceptional artist, with a sublime blend of strength and elegance. Her interpretation of Colahan’s work was breathtaking; time seemed to stand still as she moved between circles of light, bringing a calm, radiant peacefulness to a world that seeks it so greatly.
 
Lighting Designer Michael Klaers never disappoints and his designs for this program were stunning, highlighting the dancers and the choreography in myriad ways that managed to convey emotions and different moods while also bringing everything together seamlessly.

Congratulations to Brandon Whited, Nancy Colahan, Weslie Ching, and all of the artists on an extraordinary evening of dance and theater.