Written by John Manson
This season, Broken Rhythms is celebrating their extensive repertoire of shows, and their community, by remounting two of their past works. The season kicks off this weekend with a re-invigorated rendition of Universal Horrors (2017). In partnership with Intrepid Theatre’s Stages and Spaces program, the show is offered three times at the Metro Studio Theatre: Friday, October 10th at 7:30pm, Saturday, October 11th at 7:30pm, and Saturday, October 11th at 9:30pm.
Choreographer: Dyana Sonik-Henderson
Lighting Designer: Emma Dickerson
Video Projections: Michelle Munkittrick and Dyana Sonik-Henderson
Cast
Candace Bruce
Carlene Forbes
Olivia Lund
Sara Peddle
Christina Plaschka
Allison Rhodes
Makenna Thiffault
I was so fortunate to sit in on a recent run through of this work and I cannot wait for these talented and skilled performers to get in front of an audience in the next few days. The show, which premiered in 2017, was inspired by horror and thriller movies from the 1920’s, 1930’s, 1940’s, 1950’s. Broken Rhythms Artistic Director Dyana Sonik-Henderson uses her signature Rhythmical Contemporary style to weave these stories through complex, patient, methodical, dynamic, and sometimes abstract choreography. The show is highly accessible for all audiences with iconic imagery, dramatic visuals, vibrant storytelling, and humorous touches.
I love that while Universal Horrors has wide-reaching audience appeal, it is also bursting at the seams with contemporary dance content and cycles through a variety of sub-genres of contemporary dance. The two best examples of this genre-cycling bookend the show. These group numbers, respectively inspired by Phantom of the Opera (1925) and War of the Worlds (1953) and the advent of the science fiction at large, showcase Sonik-Henderson’s adept use of spacing, repeating motifs, melodrama, and “freeze frame” style holds. While “Phantom” is set to the haunting instrumentation of Phillip Glass’ Metamorphosis: Four, and features a more classically influenced style of contemporary, the “Science Fiction” piece uses more military-inspired movement, bizarre sounds such as a tuning radio, and imagery that reminds me of all kinds of science fiction and adventure genre television and film, including the iconic and doomed Danielle Rousseau from ABC’s Lost.
“All seven of the dancers work as a well-oiled machine to capture Sonik-Henderson’s perfectly calibrated blend of old Hollywood drama, mystery, suspense, playfulness, and emotional expression.”
Another standout is the bracingly emotional “Frankenstein”, danced to the electric and frightening sounds of Ólafur Arnalds’ Brótsjor. The performers deliver a stunning combination of dread, frustration, exhaustion, and rage. This harrowing character study contrasts very nicely with the more fluid and undulating movements of the “Dracula” piece and the breakneck speed of the “Mummy” section, which features dancers clad in archaeologist-inspired khaki as well as some gorgeous prop/character work that I won’t spoil but I know you will enjoy. All seven of the dancers work as a well-oiled machine to capture Sonik-Henderson’s perfectly calibrated blend of old Hollywood drama, mystery, suspense, playfulness, and emotional expression. They each find their own individual interpretations of these characters but also blend and interact so nicely as a team. While these films often featured female characters as the ingenue, the damsel in distress, the temptress, and sometimes the witch, these dancers embody all these archetypes plus the heroes, the villains, the monsters, the natural world, and the spirit world.
While the rehearsal took place in studio lighting, and therefore the lighting design will be a surprise to me, I know that Emma Dickerson’s lighting creation will perfectly echo this show’s drama, theatricality, and whimsy. They are a genius designer, and they always create something that shocks me and something that makes me think. The show features atmospheric and hypnotic video projections by Michelle Munkittrick and Dyana Sonik-Henderson. I am so thrilled for Victoria audiences to see this piece this coming weekend. It was the first Broken Rhythms show I ever saw, holds a special place in my memory and my admiration for Broken Rhythms, and it is so meaningful and edifying to see how the company, as well as Sonik-Henderson’s choreography and artistic voice, have all matured and flourished over the last eight years.
There are three chances to join Broken Rhythms for this hauntingly beautiful show at the MetroStudio Theatre:
Friday, October 10th at 7:30pm, Saturday, October 11th at 7:30pm, and a special “late night” show with a special surprise Saturday, October 11th at 9:30pm.
Hurry to get your tickets through the Intrepid Theatre website: https://intrepidtheatre.com/shows/universal-horrors/
Broken Rhythms 