The Strand Theatre and Ballroom, Windfall, RI.
June 28, 2026.
A trumpeter riffed whereas the entire viewers cheered and clapped alongside, in rhythm. It was a musical interlude of Revolve Dance Challenge’s fifth annual present Revolutions. That type of second at all times brings distinctive electrical energy to an area, and it definitely did right here.
The present introduced components that it does yearly: classical and modern motion premieres paired with unique stay music, in addition to methods during which it’s pushed ahead from the prior years’ reveals. As extra par for the course, what resulted from that pushing ahead confirmed me potential to proceed upping the ante – and excited me to see that occur (I solely see indicators pointing to that it’s going to).
In isolation, Revolutions provided simply sufficient edge to enervate and simply sufficient calm to appease. Seeing this program annually permits me to see tendencies, but additionally recognize the singular really feel for each.
Danielle Diniz’s jazzy romp Night time Cycles opened this system. It opened with an explosion of pace and expansiveness, the 5 dancers assembly the pizzazz of the stay jazz rating (composed by Luther S. Allison). Motion was classically grounded, but additionally sprinkled with jazzy components: pencil turns, parallel shapes, cha-cha steps. Easy costumes of white tops and darkish navy bottoms successfully complemented the understated classiness of all that.
Additionally aligning with that really feel was the ensemble’s calm contentment – merely respiration by means of and savoring every shifting second. I felt the identical simply experiencing it from them. Audrey Lukacz added somewhat extra fireplace and intrigue to her solo, peppering emotional variance into this non-narrative work. Total, their fluid power crammed the stage after which poured out from it.
Lauren Flower’s memorable and touching Sugarcoat adopted, danced by Charlotte Nash and John-Paul Simoens. A stay singer (Katie Martucci, additionally Composer for the rating) accompanied the dancers with this work, her voice soulful and wealthy. The motion met these wealthy, layered textures with each rely. It once more constructed upon a classical base – accumulating stylistic variance and an unusual kinetic understanding on prime.
Flower’s vocabulary had a placing method of melting expansive line right into a launch, a curve, a fold. It additionally provided a classy sense of spiral, with line rising from or diminishing into circularity. Nash and Simoens executed all of that with a lot attunement to one another that they appeared to maneuver collectively as one organism – even whereas sure moments had them in opposition.
The opposition by no means lasted lengthy, and their respiration collectively by means of every new weight shift and momentum pathway stored me feeling easeful, peaceable. Because the rating and lights dimmed, they discovered stillness – seeking to upstage collectively. That felt like hopeful continuance, one in all them shifting ahead collectively – into no matter they could discover.
Kurt Douglas’ Melodic Mosaic got here simply earlier than intermission, with a splash every of pleasant quirk and compelling thriller. Businesswear-inspired costumes of vibrant colours, a rating with an fringe of thriller (composed by Katie Jenkins), and extremely athletic – but additionally funky – motion all met proper firstly.
A part of me thought “hmm, I’m not so positive these components align” – however I got here to see that as maybe the purpose. “Melodic mosaic” certainly! All of those disparate components in the end did cohere, making the incongruous truly harmonious, and there was one thing soothing in that.
The edgy mysteriousness continued to pulse by means of the work, so each results have been on supply.
It takes intention and command of craft to make such a daring method work. For me, all in all it did. A second part even added variance of tempo and total power – one thing I at all times root for. The piece was a sensory, energetic smorgasbord – and I definitely got here away satiated.
One thing way more strictly classical got here after intermission: the Act II Pas de Deux from Petipa’s The Sleeping Magnificence, with Nash and Simoens returning. It was the peak of classical magnificence, rhinestones shining and penchés picturesque…regardless of that we have been sans fancy opera home and sprawling stage. The pair’s versatility was spectacular, with them as commanding on this excessive classicism as they have been in Flower’s way more modern work.
I may see some folks feeling like this work didn’t slot in this system, stylistically talking – however I appreciated the change of tempo. This work additionally made me understand that extra such excerpts in packages like this might significantly increase entry to classical works, at the very least give a style of what the style has to supply to those that can’t or simply don’t attend lengthy story ballets. In my ebook, such growth of entry is an inarguable constructive. Thus, whilst one thing so classical, this pas de deux contributed to this system’s revolutionary spirit.
Emily Adams’ Moonsick closed this system, a piece providing but extra excellent motion styling and ambiance. Dancers wore stunning watercolor-streaked tops, in earth tones, with the stay rating (composed by Jim Oblon) seeming to attract affect from indie and basic rock. Gestures equivalent to rubbing the neck whereas strolling constructed a way of emotional turbulence. From there, partnering that pushed limits of flexibility and bodily legal guidelines solely sharpened the undercurrent of unease.
An animalistic really feel even simmered because the piece progressed: motion at instances ferociously grounded, at different instances racing ahead with wild abandon. As all through this system, a powerful classical basis supported one thing recent, daring, and – to my eyes – completely singular. Aram Hengen’s solos stood out as notably sturdy, memorable artistry.
Even for the edginess at hand, the cohesion of components and the best way my curiosity was piqued had me feeling that calm satisfaction I had all through this system. Notably when contemplating the work’s a number of sections, and an ending that felt prefer it may circulate into additional sections (with a way of continuance quite than ultimate decision), I additionally felt just like the work had potential to be expanded into one thing longer, with an much more developed idea.
Simply as I’ve with the previous reveals from Revolve Dance Challenge, I additionally noticed additional potential in what they’ve constructed. I like a brief program: one hour, out and in and on with life! However with the strengths of this system because it was, I discovered myself questioning what they might do with such expanded ideas – crafted into evening-length works, longer reveals on greater phases, for instance.
In prior opinions, whereas loving what I skilled, I equally questioned what extra these commanding, dedicated artists may do – bigger group works, for instance. They delivered on that on this program, with the three ensemble items (the identical ensemble of 5 exemplary artists) providing power simply bursting from the stage – power I then relished. So, as soon as once more, the commendable work on supply had me questioning what extra they might do; each time they dare to suppose and do greater, they totally ship.
Regardless, the dedication to daring new dance works paired with custom-composed stay music is one thing distinctive in and of itself. Each dancer is aware of the moving-to-live-music distinction, and Revolve Dance Challenge is bringing at the very least a few of that feeling to their audiences. Generally we even clap alongside. Till the following time we do!
By Kathryn Boland of Dance Informa.
