{"id":23886,"date":"2023-04-11T12:25:25","date_gmt":"2023-04-11T19:25:25","guid":{"rendered":"https:\/\/www.nexusnewspaper.com\/?p=23886"},"modified":"2023-04-11T12:25:25","modified_gmt":"2023-04-11T19:25:25","slug":"chiaroscuro-an-unconventional-success","status":"publish","type":"post","link":"https:\/\/www.nexusnewspaper.com\/newsite\/2023\/04\/11\/chiaroscuro-an-unconventional-success\/","title":{"rendered":"Chiaro:Scuro<\/em> an unconventional success"},"content":{"rendered":"

I recently went to see Chiaro:Scuro<\/em>, produced by Broken Rhythms Dance Company at the Metro Theatre on April 7 and 8. The performance is inspired by film noir to convey the light and dark of human experience using jazzy and atypical instrumental music, shadows and fog, and unique dance moves that Broken Rhythms calls \u201crhythmical contemporary.\u201d<\/p>\n

Chiaro:Scuro<\/em> features six dancers: Christina Plaschka, Caleigh Hunter, Allison Rhodes, Heidi Fox Lange, Sara Peddle, and Candace Bruce. They were on stage most of the 60-minute show, with only a few breaks, where they trade off with one another. These dancers have incredible stamina to carry the show by themselves.<\/p>\n

The costumes are simple yet effective, with loose-fitting burgundy- and amber-coloured tops and grey and black pants working well with the lighting to mimic shadows.<\/p>\n

\"\"<\/a>
Chiaro:Scuro<\/em> was produced by Broken Rhythms Dance Company (photo provided).<\/figcaption><\/figure>\n

The show starts with all of the dancers in a tableau toward the front of the stage with a spotlight moving on and off each of them. The lighting design for the show is excellent\u2014the performance wouldn\u2019t have been as powerful without it.<\/p>\n

The music and choreography at the beginning is slower paced, becoming slightly repetitive. Personally, I would have liked to see more fast-paced numbers throughout, as I think that\u2019s what the group excel at\u2014their quick and sharp movements are exciting to watch.<\/p>\n

The dancers handle their props with ease. There’s a recurring use of suit ties, and at one point they use a few slats of blinds for visual and auditory effect. One of the dancers balances the blind slats on their head successfully, taking steps with great control.<\/p>\n

It\u2019s moments like this that kept me on my toes and made me reflect on the message of the piece. I think every person at the show would have walked away with a slightly different interpretation, which isn\u2019t necessarily a bad thing.<\/p>\n

The dancers performed with emotion, and I could tell that they really trusted each other, especially in their lifts and partner work. Their breath was synchronized, which displayed their musicality, enhancing the movements.<\/p>\n

They use the stage space well, too: there’s a section where the dancers are miming a wall, and the dancer leading this illusion made the wall seem real.<\/p>\n

Each dancer is featured individually at some point, showcasing their own strengths. Still, the dancers are one cohesive group, rather than just a bunch of soloists performing together on stage.<\/p>\n

Technically speaking, the performance wasn’t without its flaws: occasionally, the turns weren\u2019t together or the angles weren\u2019t the same throughout the group. However, this doesn\u2019t take away from the creativity of the choreography or the ability of the dancers.<\/p>\n

Broken Rhythms delivers on what they promise: they dance in a distinct style with intricate choreography. They dare to think outside of the box and move in unconventional ways, creating an effect that left me wanting more.<\/p>\n","protected":false},"excerpt":{"rendered":"

I recently went to see Chiaro:Scuro, produced by Broken Rhythms Dance Company at the Metro Theatre on April 7 and 8. The performance is inspired by film noir to convey the light and dark of human experience using jazzy and atypical instrumental music, shadows and fog, and unique dance moves that Broken Rhythms calls \u201crhythmical […]<\/p>\n","protected":false},"author":2,"featured_media":23887,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4,9],"tags":[],"class_list":["post-23886","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts","category-webexclusive"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/23886","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/comments?post=23886"}],"version-history":[{"count":1,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/23886\/revisions"}],"predecessor-version":[{"id":23888,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/posts\/23886\/revisions\/23888"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/media\/23887"}],"wp:attachment":[{"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/media?parent=23886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/categories?post=23886"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nexusnewspaper.com\/newsite\/wp-json\/wp\/v2\/tags?post=23886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}