Hannah Millar, Artistic Director of Imprints Dance Company brought an extraordinary afternoon of dance to the Odyssey Theatre on Feb. 15, 2026. Each of the three pieces presented brought something special to the stage but the clear highlight was “One World” choreographed by Millar and danced by her exceptional cast of dancer/actors.
“In Way Over My Head” by guest choreographer Peter Chu set a high bar for anything that might follow. His premise is to, “embrace the chaos of anxiety, intertwine movement with flowing hair to reflect turbulent emotions, and ride the waves toward a beautiful release.” This could be construed as obscure but his vision is evident in the work.
Dance at the Odyssey – “In Over My Head” by Peter Chu – Photo by Tucker M. Maxfield, Out of Bounds Photography.
As the lights rise in silence, a lone dancer lies center stage with her luxurious hair sweeping the floor. Music and lighting filter onstage bringing the company on with it. Using his vocabulary of contemporary jazz and modern technique Chu adds an aggressive eclectic edge throughout incorporating facial contortions, percussive bursts of slapping, clapping, and exacting hard-hitting movement. He can lighten up when needed as in his quirky nod to Swan Lake. Because his focus is uncompromising; he can shift in any direction moving from a light touch to a hard edge and finally to slow-motion beauty with stunning hair choreography. Chu so cleverly incorporates the abundantly beautiful hair of his dancers that it becomes its’ own entity. Something I thought might verge on cliché was instead mesmerizing. Because Chu has worked with top companies both as a dancer and choreographer including Kidd Pivot and his own company “chuthis,” his work is specific and rigorous and these dancers lived up to expectations. The aptly chosen music was by Gyra by KAVAL, Lie Alone by Blanco White and Surveillance by George Ogilvie.
Next up was Millars’ piece “Boxed” well danced by her student company. Dressed in long black split legged dresses these young girls are deceiving in their maturity as dancers and performers. Like Chus’ work this is a potent contemporary dance piece that draws you in from the start. Repetitive, rhythmic action moves along propulsively as we seem to be entering a madhouse. Millar sets up a claustrophobic atmosphere filled with twitching, scratching, robotics, canons, floorwork, flashlights and hysteria all performed deftly by these young dancers. She builds the piece with intensity until we are unknowingly trapped in the craziness of her non-stop choreography and bold staging. Millar is not only an imaginative choreographer but she insists on precision and clarity of movement and each section is clean and accurately rendered. Her meticulous care ultimately facilitates the work which, develops powerfully and though the premise might be somewhat indeterminate we are nevertheless swept into her world where we are glad to stay for a while. The music Soul Chain by ori lichtik perfectly underscores the work.
Dance at the Odyssey – Julia Gonzalez and Bailey Holladay in “One World” by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
The “pièce de resistance” of the afternoon was clearly the wildly entertaining and ingenious final piece, Hannah Millars’ “One World.” This is a work of importance set in six sections each addressing another facet of the human condition. Set in a “Twilight Zone” world we are drawn into Millar’s work, unable and unwilling to leave for the next 55 minutes.
Dance at the Odyssey – Julia Gonzalez and Bailey Holladay in “One World” by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
“Insecurity” begins as two “mannikins” are hauled onstage by a small crew of dressers who set them up and exit. Tall dancer, Bailey Holladay and small dancer Julia Gonzalez come to life each distinctive but the same. This segment is a hilariously heartbreaking commentary on what might be considered femineity today as each performer stuffs her pants with cloth to enlarge her buttocks, adds balloons to her chest, slaps on false eyelashes, lipsticks on an oversize mouth and caps off this terrifyingly absurd transformation with a long white blonde wig. Once done up they preen and prowl, until they realize that tiny Gonzalez needs to be taller. In come the surgeons and nurses who strap her into builders’ stilts and send her on her way. Thus, the pair can return to their life of perfection until the next deficiency enters the picture. As drug fueled desperation takes the lead, in come the mannikin dressers and we move into “Control.”
Dance at the Odyssey – “One World” by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
Charlie Chaplins’ iconic speech from the 1940’s film “The Great Dictator,” underscores this vignette in all its’ timely horror. Here the dancers are first trapped and tortured by the black suited “Leaders,” until the trapped become the aggressors, just as a caged tiger turns on its’ master.
Throughout this six-part series Millar captures the essence of each sentiment perfectly by using the dressers to divert and set up each scene to come. “Disconnect” is a relationship of missed verbal connections set in a living room like space. Impeccably rendered, Holladay and Gonzalez handle their provocative dialogue deftly while illustrating their intention with exacting movement. “Fear” is a drunken night out for the two women who are menaced by a cabal of dandy’s intent on rape or worse. Cleverly, Millar gives the dandies suits, canes, hats and charming flirtatious choreography which obscures just how dangerous they are, the wolf in sheep’s clothing.
Dance at the Odyssey – Julia Gonzalez and Bailey Holladay in “One World” by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
“Time” is a beautifully rendered portrait of love that has survived the ages. Now Holladay and Gonzalez become an old couple enjoying an afternoon at the park. In Millar’s sure hands every move has significance. Slowly this slight piece builds into a touching and tender denouement bringing release and even tears.
“Learning, Support, Peace and Love,” is the slightly overlong yet compelling final concentration of exuberant choreography that fills the room with joy and the idea that love matters. The full company joins the two leads and together they bring this masterful production to its’ close. I did think leading directly to the bows from here did not give the audience a satisfying moment to fully absorb and take a breath before applause was expected. This is a minor problem easily fixed.
All the performers do their part with clear devotion but it is Bailey Holladay and Julia Gonzalez who have the opportunity to shine here and they exceed expectation. They not only dance well but are consummate actors who bring each of their characters to vivid life.
The well-chosen music was by Michael Wall, ori lichtik, and Coldplay with expressive lighting design by Bryanna Parra-Brock.
Dance at the Odyssey – “One World” by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
Hannah Millar is an important choreographer whose work deserves to be seen widely. Hopefully, she will get many commissions to come. As always thanks to Barbara Müeller-Wittmann for continually bringing such high caliber work to the Odyssey.
“Way In Over My Head” dancers were, Lexi Amundarian, Halie Donabedian, Julia Gonzalez, Bailey Holladay, Lexi Maxfield, Jordyn Maxfield and Nao Yamashita.
“Boxed” dancers were, Landis Carpenter, Aminah Carter, Autumn Cooper, Khloe Hinojos, Kaylee Reimer, Bella Reyes, Laney Smith, Zoë Tobler and Hannah Williams.
“One World” dancers not mentioned above were Lexi Amundarian, Shawnee Avila, Collin Bresenio, Halie Donabedian, Lexi Maxfield, Jordyn Maxfield and Nao Yamashita.
I must comment on an ongoing problem I see in many theaters and unfortunately the Odyssey was no exception. Some audience members were occasionally checking their cell phones for text messages. This is rude and distracting as the glowing light from the phone takes attention away from the stage. I’m not sure of the resolution but I hope that attention will be paid to this matter.
To learn more about Hannah Millar and Imprints Dance Company, please visit their website.
To learn more about Peter Chu, please visit his website.
For more information about the Odyssey Theatre Ensemble, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Dance at the Odyssey – One World by Hannah Millar – Photo by Tucker M. Maxfield, Out of Bounds Photography.
