Curator Barbara Mueller-Wittman has once again brought a diverse group of dance companies and performance artists to this seasons’ “Dance at the Odyssey.” On Feb. 2, 2025, a cool Sunday afternoon, I saw “Re:born Dance Interactive & Boroka Nagy.” Company Director/Choreographer Nagy has brought together a group of excellent dancers who make the most of Nagy’s work for this edition of “Home.”
Boroka Nagy and cast members of “HOME” – Photo by Skye Schmidt Vaga.
“Welcome to HOME: a show meant to be felt, not analyzed.” Is the opening statement in the program notes as written by Nagy. To this end, the set nicely designed by Nagy consists of a sofa, a series of standing lamps, a family dining table with chairs and windows which are suspended above, all evocative of somebody’s home. There are seventeen dance sequences that make up the overall piece each one relating to a different aspect of home and family. For example, “how we greet each other when we walk through the door” is one concept, another is “Any cost is not too much for those we care about.” This information however was only available as we were handed a program upon entering the theater. With only a few minutes to peruse the notes we did not have the time to absorb the details and therefore the message had to be understood through the dance. In this Nagy was not always successful but when she was the work was absorbing.
Nagy choreographs in a contemporary modern feel with a touch of lyrical jazz. Her background includes training at the Alvin Ailey school which shows in her work. There is constant movement, reaching, turning, dropping and rising throughout and her company dancers including Nagy, keep up nicely. Musically the tracks were diverse from Dvorak and Brahms to old standards such as “As Time Goes By” and Herb Alpert’s “A Taste of Honey.”
Jestoni Dagdag in Boroka Nagy’s “Home” at Dance at the Odyssey – Photo by Sky Schmidt Vaga.
Particularly strong was “Counting Money” set to a soundscape by Nomadic Ambience, well danced by Jestoni Dagdag as he contemplates the worth of his family ties. Though a somewhat obscure premise, he made the most of little with firm technique and a nice stage presence. “In a Crisis,” which utilizes the full company, was effective and well staged with the dancers moving from duos to trios in an effort to comfort one another. Nagy is especially good with group choreography making full use of the space and smartly including the entrances and exits as part of the choreography. When she builds these sections into powerful unison dancing she hits an emotional high. More of this would be welcome. Also impressive was “Homesick” beautifully danced by Kristy Hwang, who uses the full length of her long lean body to express her loneliness. Simon Harrison a veteran dancer with Re-born Dance” has nice moments in many pieces but shines in the brief but lovely “Reflections” which closes the show. He moves with ease throughout never pushing or forcing the movement beyond his capable reach. He is emblematic in many ways of the overall feel of Nagy’s work, moving easily, never always pushing precise but easy on the viewer as it flows from piece to piece. This, however, does not mean the work is simple or easy, it is complex and technically challenging at times.
Members of Re: borN Interactive in Boroka Nagy’s “HOME” – Photo by Skye Schmidt Vega.
A drawback to the work, however, was that much of the movement seemed rooted in the same musical tempo with little variation which eventually forced the choreography into repetitiveness. Even with musical changes the style of the choreography did not change but stayed within Nagys’ comfort zone. Therefore, her stab at whimsey to the music of Herb Alperts’ “A taste Of Honey” did not work because Nagy was not able to transcend styles. With seventeen pieces making up the program this became problematic. Perhaps honing the presentation down to the essence of the message and cutting several minutes would benefit the show overall.
Re: borN Interactive in Boroka Nagy’s “HOME” – Photo by Taso Papadakis.
Still there was much to admire here. Nagy is a very competent choreographer in her style and her dancers gave their all making for a truly good concert.
As always thanks to The Odyssey for creating the space and time for choreographers to work and to be seen. If you have not seen Nagys’ work, I can recommend that you do whenever and wherever she and her company are performing.
Re: borN Interactive in Boroka Nagy’s “HOME” – Photo by Taso Papadakis.
The dancers acquit themselves well, making easy work of difficult passages. They are Jonathan Banh, Jestoni Dagdag, Krissy Gullen, Simon Harrison, Kristy Hwang, Katie Marshall, Boroka Nagy, Hyoin Jun and Katie Walsh.
Effective lighting was by Martha Carter.
Dance at the Odyssey continues through February 16, 2025 featuring Spenser Theberge’s “INTIMATES”, February 7-9 and Gheremi Clay (Clay Collective), February 14-16. To learn more and to purchase tickets, please visit the Odyssey Theatre Ensemble website.
To learn more about Re: borN Interactive & Boroka Nagy, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Members of Re: borN Interactive in Boroka Nagy’s “HOME” – Photo by Skye Schmidt Varga.
