reviewed by Amber Shatto
Gregory Hancock Dance Theatre brings a creative collection of works inspired by global stories and beliefs to The Tarkington with Sagas & Superstitions. The well-arranged concert offers two world-premiere pieces as well as five works from the company’s extensive repertoire, including solo performances from three retiring GHDT dancers: Chloe Holzman, Camden Lancaster, and Hannah Brown. Aiming to add new perspectives to audiences through showing the world his views, Executive Artistic Director Mr. Hancock excels in promoting appreciation of traditions, history, visual art, movement, and music from around the world, and that cultural theme exhibits vibrantly here as the audience enjoys exposure to Eastern Europe, Greece, and Brazil.
The idea for the presentation of Sagas & Superstitions originated from Mr. Hancock’s personal experience in Poland. The concert begins with inspiration directly from that specific experience in “Don’t Sit at the Corner of the Table” and is infused with storytelling from Eastern European superstitions believed to bring bad luck: spilling salt, leaving books open, placing purses on the floor, gifting even-numbered flowers, and unmarried women sitting at the corner of tables.
Each superstition appears subtly in “Don’t Sit at the Corner of the Table,” and the theatrical elements of this work stand out with props, set pieces, and facial expressions. Josie Moody amusingly expresses disappointment and single-woman woes after two men enter the scene and immediately partner with her two sisters. Thomas Mason and impressive guest dancer Isaac Jones join the story and assist in adding dynamic movement as well as grief as they bring forth potential bad luck to the group through their flower-count carelessness and salt spilling. From the strong solo performance of Ms. Moody to the effectively designed and executed symmetric choreography of the two couples, the movement here offers a variety of interest. Mr. Hancock’s 1940s costumes include a common thread of red creating unity in the performance as well. The omnipresent, quiet newspaper-reading man off to the side is excluded from most all activity and theme creating an interesting juxtaposition to all of the excitement on the other side of the stage. The warm lighting from above designed by Ryan Koharchik for this piece and the wooden tables and chairs both create a cozy environment which works to transport audience members to this setting.
“Greek Mythology” offers several short stories performed to contemporary Greek music. Notable moments in this collection include the fresh warrior-inspired choreography and formations from the ensemble in “Achilles,” technically outstanding movement from blindfolded dancer Ms. Lancaster and graceful lifts with her partner Mr. Mason in “Eros and Psyche,” strong solo work from dancer and Assistant Director Ms. Lessaris in “Hermes,” sheer grace and unity from GHDT’s three retiring dancers in “Three Graces,” and heartbreaking storytelling and beautiful skill from Ms. Moody and Mr. Jones in “Echo and Narcissus.” The unexpected arrangement of “Pandora” brings particular excitement to the audience as Ms. Payton leads in telling the modern-day rendition of the Greek tale with infinite levels of energetic expression complete with an ensemble of artists performing in vibrant high fashion and high heels, shouting, and a purse full of (finite) decadence.
With an opportunity to showcase broad talent, retiring company dancer Ms. Holzman displays her original choreography and effective costuming in “Pelo Caminho.” Ms. Mason’s character embarks on a specific journey and discovers surprising strength along the way through encounters with three spirits of nature. The simple-but-striking costumes and the synchronization of the king and queen presented by Mr. Jones and Ms. Payton emphasize their strength and roles in the story. As battles between characters ensue, the artists in this work skillfully execute powerfully designed movement to contemporary music.
In between two larger works, Ms. Holzman (1941), Ms. Lancaster (Under the Big Top), and Ms. Brown (Superhero) each delight the audience with solo performances from their tenure with GHDT before retiring from the company at the end of the final performance of Sagas & Superstitions. All three performances burst with heart and talent, beautifully illustrating what it means to “leave it all on the stage.”
Closing the performance is “The Wedding” which brings audiences along to witness the creative interpretation of a Roma broomstick wedding. The whole company participates in increasing jubilance and excites with spectacular leaps and lifts, interesting shapes, and strong usage of the stage space. Additionally, the side lighting seen in this piece creates strikingly dramatic moments. The purely formal elements of “The Wedding” especially shine.
The skill of the dancers of Gregory Hancock Dance Theatre layered with the artistic vision and production execution creates an altogether engaging presentation in Sagas & Superstitions. Instead of a full-length piece, this thoughtful arrangement of smaller works offers the audience a wide array of cultural exposure and inspiration with both traditional and contemporary sound. You can find performance and ticket information by going to https://thecenterpresents.org/tickets-events/events/2324/resident-companies/ghdt-sagas-and-superstitions/. Sagas & Superstitions only runs June 7-8, so if you miss the opportunity to see it, the ever-cultural GHDT opens its 27th season with Autumn Nights on October 25 at The Tarkington.
A Seat on the Aisle 
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