Natosha Washington’s Say Their Names, Part I, which premiered in 2018, snapped more precisely this time around as a magnificently considered reflection on an issue that sadly remains the same in terms of unresolved status and urgency – the injustices and biases of the “stand-your-ground” laws and mentality. ...the work telegraphs Washington’s thematic message without the need of spoken word. The dancers’ properly framed intuition, as well, is eminently displayed.

As the dancers took their bow, they gathered together in the center of the stage, arms around each other. There was a finality to the bow, a sense of complete giving and abandon to the energy of sharing their transformative experiences at Bears Ears with us.

Indeed, it was a masterful, heartfelt performance that truly was a ritual of healing. That sense of change is evident at every turn. In that half hour, one could forget the contentious, more often brutal, politics that have surrounded the designation of the Bears Ears National Monument. From the opening ritualistic dance to the serene closing moments of the work, there arose a new emotional connection to a land about which hundreds of thousands upon hundreds of thousands of words have been written and uttered.

Natosha Washington’s Say Their Names, Part I, which premiered in 2018, snapped more precisely this time around as a magnificently considered reflection on an issue that sadly remains the same in terms of unresolved status and urgency – the injustices and biases of the “stand-your-ground” laws and mentality. ...the work telegraphs Washington’s thematic message without the need of spoken word. The dancers’ properly framed intuition, as well, is eminently displayed.

As the dancers took their bow, they gathered together in the center of the stage, arms around each other. There was a finality to the bow, a sense of complete giving and abandon to the energy of sharing their transformative experiences at Bears Ears with us.

Indeed, it was a masterful, heartfelt performance that truly was a ritual of healing. That sense of change is evident at every turn. In that half hour, one could forget the contentious, more often brutal, politics that have surrounded the designation of the Bears Ears National Monument. From the opening ritualistic dance to the serene closing moments of the work, there arose a new emotional connection to a land about which hundreds of thousands upon hundreds of thousands of words have been written and uttered.

Sifting through the past, Bill Evans' "Crippled Up Blues" presented the evolving set of ideas that makes something new. Live music by 3hattrio invigorated the performance experience, and the dancers connected as a true ensemble.

"Suite Benny" evoked the era of old Hollywood films, with twirling ballroom dancing and carefully paired couples circling the stage. This nostalgia was initially lost on me, and I settled in to let the movement wash over me. Enter Ursula Perry and Lauren Curley: two magnetic leaders, two chaperones that encouraged rather than monitored, two women who decided that pairing off with a partner would not suffice. Instead, they wove in and out of the on-stage couples and performed to the audience, with animation and confidence, that they would pave their own way in their created world.

The movement was dynamic and accurately reflected Miller’s intent. Real drama was conveyed by the eight extremely strong dancers in the telling, retelling, and diverse experiences of the “event,” until the “event” became the remembered experience and no one really cared or could recall what the original “event” was.

The most fascinating elements were how Miller exploited the dancers’ natural spatial relationships in movement (particularly how they overlap as well as separate from one another) and the choreography generated plenty of surprises along the way. The dancers amplified these moments with superb eye contact and gestures.

Each of the four dance tableaux became living paintings that literally could have been produced at the time of the composer’s life in the 18th century but they also are timeless (kudos to the lighting design of Pilar I who followed the original as created by Clifton Taylor).

Perhaps the simplest way to characterize the composition rounding out the first half – Lar Lubovitch’s Something About Night, a work the choreographer created last year to celebrate his company’s 50th anniversary – is ‘Wow!’

"Humphrey is one of the founders of modern dance. RDT strives to keep historical pieces like Invention, in front of the public eye so they do not get lost as time marches on. This piece was danced by Dan Higgins, Elle Johnson and Ursula Perry. The movements showed great strength and control by the dancers. The movements were slow and technical. The piece showed to me how much modern dance has progressed and yet without the foundation of great pioneers like Doris Humphrey modern dance would not be where it is today."

"...Donald McKayle’s Rainbow ‘Round My Shoulder from nearly 60 years ago is as timely as ever...The men are put through grueling physical movements that evoke the punishing labor chain gangs had to endure. Meanwhile, Perry takes on various dimensions that do not convey a specific female character as much as they represent aspirations of freedom, nurturing, love and compassion."

"Few dance companies in the U.S. would take the audacious path of holding a choreographer’s competition in which the audience determines the winner with the prize of a commission for a composition to premiere in the company’s next season. However, the format of Regalia, the largest fundraising event each year for Repertory Dance Theatre (RDT), has proven to be a winner, capped by consistently excellent premieres of new work in the following seasons."

"I come almost every year. I sort of miss the hilarity from when it was kind of a fake contest, but I do like that it's a real prize for the winner, and I like coming back to see the final work."

the film is a flattering cinematic representation of two internationally known dance institutions based in Salt Lake City with a well-established history as pioneers.

Heller’s pieces effectively utilized repetition and escalation on many levels. The solos were interspersed throughout the program, grounding what was otherwise successive and fast-paced. Each solo was set to the same Bach prelude (from Cello Suite No. 1). Each dancer occupied the same space while moving through graspable patterns of repetition into escalations of phrasing that then moved beyond our ability to track.

Opera also engendered some truly elegant moments, as in Sharee Lane’s translation of the aria O Mio Babbino Caro from Puccini’s Gianni Schicchi. Perry’s solo elucidated the innocent appeal associated with the main character’s daughter, ending on a radiant note, precisely matching every line in one of opera’s most familiarly gorgeous arias.

Many of the more than 100 RDT alumni have established their own companies or have become international choreographers with many awards, commissions and distinctions of reputations. There is no doubt that legacy will expand with the company’s current corps of dancers.

One of the most important takeaways from Repertory Dance Theatre’s (RDT) artistic culture is the sincere encouragement its dance artists receive not only as performers but also as choreographers.

I look forward to seeing the ways in which both companies push themselves to find new ways of engaging audiences for the remainder of this season, and I’m especially excited to see them integrate their new discoveries into live performance... when we finally get there.

For my students especially, attending a dance performance is often not within their means. This activity allows them to understand the global aspect of dance while learning important theater manners such as dress, attitude, when to applaud, and just general demeanor in the theater. This kind of activity also teaches my kids an appreciation to the higher arts that they don’t necessarily gain from watching videos. Being able to see a body moving through space and utilizing the elements of dance makes my students question what they are actually capable of and pushes them to demand more of themselves.

Love the classroom management. It was nice to have a purpose to the lesson and managed well. I felt the time we were with you was very well spent.

"...{the assembly} was so beautifully choreographed and executed. The dancing was gorgeous and the narration kept everyone engaged and kept the flow of the performance right on track. I don't think I've ever enjoyed an assembly more - my class and I left and we've danced every day since!"

The workshop was exactly what I needed as a growing dancer to fuel my shared passion for artistic movement. The depth of repertory works I was able to study, the intriguing range of movement challenges I was presented with, and the bonding experiences I got to share with other attendees and the members of Repertory Dance Theatre provided me with a unique opportunity to feel "human" in that way that only dance can make a person feel. It was truly enlightening.

"Dancing the Bears Ears is destined to be part of the essential canon of artistic works that represent the authentic voices and spirit of the American West."

...I can't gush enough about RDT. Their work with our students and teachers was phenomenal, and their performance was so fun and engaging! What a beautiful way to share dance with our students! So many teachers have already commented on how powerful and meaningful the lesson demonstrations were for them.

"RDT performs at the level of greatness that our audiences expect. RDT is an amazing dance ensemble that can perform everything from beautiful, sensual dance works to hilarious and dramatic dance pieces."

I wanted to let you know the RDT concert truly was amazing last night. Sense of Place is a really an awesome varied concert. I loved it all! After "Bolero," the audience jumped to its feet & began clapping madly. Everyone really was jazzed up about the performance.

"I cannot recommend RDT highly enough for its excellent performances, splendid outreach, flexible approach to form true partnerships with presenting organizations and their communities. I wish we could bring the company to Lincoln every year!"