Joyous Leaps in Dance Premiere

Choreographer Sarah Berges’ recent dance program staged at Miles Playhouse was all about joy. A critique Berges herself would approve, as an antidote, she says, to the pain and suffering that beset the world. In the first part of the program, Berges found inspiration from ‘Alice in Wonderland,’ bringing a whimsical, playful approach to the classic. Set to Manual de Falla’s ‘Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin and Cello,’ the dancers captured the essence of Alice’s adventures down the Rabbit Hole. The three ‘rabbits’ (Dani Nissani, Diane Takamine, Courtney Trowman), outfitted with extraordinary ears that flowed like streamers from head to toe, danced the allegro movement, demonstrating the urgency of their mission. As the Red Queen, Berges commanded her stage, dressed in a satin covered hoop (no skirt) sweeping in and around her long-suffering consort, the Red King (Daryl Reynolds) with delicious coquettishness. In the closing movement, ‘In the Garden,’ the rabbits returned frolicking among the flower girls, each topped with a floppy, colorful bloom. The ensemble included eight- and nine-year-olds Danielle Dawson and Ella Goodheart. Berges, who teaches creative dance for children, goes beyond elementary school movement and challenges her young dancers to an impressive reach. Costume designer Zelda Lambrecht matched Lewis Carroll’s sprightly imagination and produced a dazzling, modern sensibility. The second part of the program featured music by composer Bob Applebaum, performed by Applebaum on mandolin, bassist Timothy Emmons, flutist Laura Halladay and percussionist T. J. Troy. The quartet performed a musical interlude before the debut performance of ‘On The Green,’ a composition Applebaum wrote for Berges’ company, Lion’s Pounce Dance Theater. Setting the tone on mandolin, Applebaum created a collection of compositions with roots in Celtic song, Latin samba and jazz waltz. Once again, Berges and co-artistic director Diane Takamine created a joyful celebration punctuated by soaring, spinning and whirling movement. There is no doubt that the Miles Playhouse, designed in 1929 by John Byers, an architect noted for his use of the Spanish Colonial revival style, provided a wonderful venue for performance, but the seating arrangement is not ideal. Much of the movement that was performed supine on the floor was obstructed. Nevertheless, it is a treasure to have this playhouse in Santa Monica dedicated to providing high-quality, youth-appropriate performing arts events by professional nonprofit organizations.