BMDT’s Fire in Her Eyes ignites Walsh’s Black Box Theatre

If “Gangnam Style” is the extent of your knowledge about the current dance world, the time has arrived to experience Georgetown’s Black Movements Dance Theatre. Appropriately titled for its emphasis on girl power and ethnic culture, Fire in Her Eyes opens this weekend at the Walsh Black Box Theatre. And what the show lacks in technical consistency, Fire makes up for with the dancers’ passion, highlighted in energetic performances which mix a myriad of styles.

BMDT, typically regarded as a predominantly Afro-infused dance group, stays true to its cultural roots while expanding its repertoire to a more contemporary audience. With a variety of pieces ranging from modern to jazz and incorporating several contemporary lyrical routines, BMDT’s fall performance not only adapts to an evolving dance world, but also reflects the technical growth of its dancers.

Its main crowd-pleaser routine is “Givin’ it All,” a smooth jazz and hip-hop mixture to Beyoncé’s “Love on Top” choreographed by Courtney Hodge (COL ‘14). Though there is a lack of dramatic movement within the piece, the hip-hop section midway through helps revitalize the number. The performers are relatively coordinated, lending their own styles to the somewhat repetitive choreography and effectively creating a performance where the audience has as much fun as the dancers.

The sole full-company routine of the show is set to another Beyoncé record, but this time, the mood is drastically different. Just as showiness has its place in “Givin’ it All,” emotional drama takes over the stage in “Circle of Life,” using Beyoncé’s “Starting Over” as the backdrop for a haunting performance filled with staccato, fervent movements contrasted by calmer ones showcasing fluidity within the group. BMDT members Jaclyn Markowitz (COL ‘14) and Bernadette Nelsen (SFS ‘14) drive the piece as the lead dancers, and they certainly steal the show.

Dominique Atwood, guest choreographer of Dadas Dynasty, utilizes the remaining company members to add drama to the lead dancers; however, Markowitz and Nelsen’s genuinely passionate performances are captivating enough to stand alone. The lead dancers, with the help of the supporting corps, portray the struggles of human relationships through a series of free-spirited movements and stunning execution of technical dance elements, revealing their depth and skill as performers. In addition to both dancers’ impressive technique, Markowitz’s unique movement quality and Nelsen’s elegant lines are showcased in each pose, pirouette, and penche.

While the audience will enjoy the Beyoncé routines of the show, the true standout performance is a soft yet powerful contemporary routine which reveals beauty and strength through a routine of subtle, controlled movements. Also choreographed by Hodge, this small group contemporary dance to Meshell Ndegeocello’s “Bitter” incorporates sustained dance elements and an excellent use of levels to produce a beautiful routine. Reminiscent of So You Think You Can Dance group numbers, the piece tells a story from start to finish, beginning with a strong intro starring Nelsen and Hodge herself. Devoid of flash or an overwhelming amount of tricks, the dance reverts back to the original purpose of dance performance—personal expression and the translation of emotion into movement.

This year’s BMDT fall concert reflects growth and artistic progress for the dance group. Distinguishing itself from the also technically-based Georgetown University Dance Company, this year BMDT added a male dancer to its roster. Staying true to its mission, BMDT performs a true modern routine choreographed by faculty director Alfreda Davis, and company members perform to a spoken word piece written and delivered by Vivian Ojo (SFS ‘14).

The company is filled with dancers of diverse backgrounds and experience levels, which both benefits and hinders the overall showcase. The dancers’ unique, individual styles allow for interesting pieces; however, the group struggles to stay in sync at times, and often abandons basic technical elements, such as controlled arm movements, straight legs, and pointed toes.

If the group’s technical level matched its dramatic level, the show would come closer to emulating that of a professional company. However, the passion of the dancers is undeniable and nearly compensates for any technical shortcomings. If nothing else, Fire in Her Eyes will broaden your limited horizons with a pleasant, culturally-rich performance.