Uplifting ‘Shadows of the Spirit’ Engages Viewers

And God said, “Let there be trampolines” ... in order, perhaps, for Hae Kyung Lee and Dancers to perform the whimsical, mind-bogglingly athletic “Shadows of the Spirit” at Japan America Theatre on Saturday night. This 55-minute intermissionless premiere, choreographed by Lee to a trance-like Minimalist score by Steve Moshier (performed live by Liquid Skin Ensemble, a crack septet led by Moshier on vibraphone), combined butoh and contortionist circus fare in a work that never failed to engage.

Depth, however, was another matter.

But where is it written that we need a dark dose of message-oriented material these days? Against a backdrop of black curtains (with lights by Chris A. Flores), Lee’s six dancers--James Kelly, Kishisa Ross, Claudia Lopez, Miguel Olvera, Jinna Rohde and Edgar Ovando--made slow-motion entrances in ‘50s style costumes designed by Lee (think Lucy Ricardo--in sherbet-colored dance briefs, midriff tops and splashy robes).

As the music crescendoed with layers of sound (George Gomez-Wheeler on sax and Jannine Livingston and Ruth Cortez’s keyboarding enhanced an already textured work), a bevy of sculptural poses flowed from one-armed push-ups and yoga-like postures to leaping, somersaulting and floor-diving, all a prelude to trampoline antics.

Who knew jumping around could look so great? From swan dives to back flips and daring solo turns, the dancers sustained a 20-minute repertory of stunning perpetual motion. Noteworthy was Olvera in body-twisting antigravity feats that resembled full-tilt horizontal fouettes.