BODYTRAFFIC Captivates Beverly Hills With a Witty, Poignant, and Visually Inventive Dance Program
A Company That Marries Intelligence, Humor, and Heart
The spirited, Los Angeles–based BODYTRAFFIC once again proved why it remains one of the most compelling contemporary dance companies on the American stage. In a diverse program presented in Beverly Hills, the company offered an evening that was at once entertaining, thought-provoking, and emotionally resonant—an experience enriched by humor and irony, qualities too often absent in contemporary dance but central to BODYTRAFFIC’s artistic voice.Cayetano Soto’s “Schachmatt” Brings Wit to the Chessboard
A standout of the evening was Schachmatt (“Checkmate!”) by choreographer Cayetano Soto, a work that shares nothing beyond its title with Ninette de Valois’s 1937 ballet Checkmate. Instead of courtly drama, Soto places his dancers in a surreal, Fellini-esque black-and-white universe.Ten performers, dressed in pale gray shirts, ties, and shorts, occupied a stage transformed into a chessboard. With black jockey helmets and knee socks, they appeared poised for a day at the races rather than a battle of kings and queens. Set to an eclectic score ranging from French chanson singer Rina Ketty to Henry Mancini and Mexico’s Los Panchos, the dancers unleashed a barrage of idiosyncratic movements—heads bobbing like woodpeckers, fingers fluttering like nervous safecrackers, torsos snapping with go-go energy.
Hints of Bob Fosse surfaced in tipped caps and stylized bows, while moments of synchronized precision evoked the Radio City Rockettes. Whether pirouetting or mock ballroom dancing, the ensemble displayed razor-sharp timing and clarity, allowing Soto’s originality to shine. The piece was so infectious that it inspired a powerful urge to leap onto the stage and join the game.
“Coalescence” Explores Identity, Femininity, and Community
In contrast, Coalescence by first-time choreographer and BODYTRAFFIC member Jordyn Santiago abandoned humor in favor of emotional gravity. In her own words, the piece explores “the journey from self-doubt and isolation to joy and self-love,” serving as a love letter to femininity, queerness, and community.Performed by an all-female cast of six, dressed in diaphanous gray gowns, the work unfolded to music by Rafa Aslan. At times, the choreography leaned toward the self-referential, but when Santiago exercised restraint, the imagery became strikingly mythic. The dancers evoked ancient Greek figures, moving like goddesses painted on an Attic vase—side by side in profile, arms bent, bodies connected.
Moments of collective rocking with bent knees and grounded feet suggested tribal rituals and shared endurance. As the group coaxed Santiago’s central figure from doubt into unity, the piece culminated in a celebratory finale set to high-energy house music, affirming joy through communal movement.
“Flyland” Blends Dance and Video Art With Intimacy
David Middenthorp’s Flyland occupied the poetic intersection of dance and video art. Set to evocative music by Genevieve Murphy and The Cinematic Orchestra, the duet featured Katie Garcia and Joan Rodriguez in a tender domestic narrative.Projected behind them was a meticulously detailed interior scene—bookshelves, a ladder, a fireplace—while the dancers themselves lay on the stage floor, their bodies integrated into the projected image. The illusion allowed them to climb ladders, spill wine in slow motion, and eventually drift into a dreamlike skyscape. At one point, they were carried away by a giant crow, guided by animated silhouettes of hands and arms.
Though just ten minutes long, Flyland conveyed a deeply human story—one of love, uncertainty, and the tension between staying together or drifting apart. Garcia and Rodriguez danced with exquisite precision and emotional sincerity, giving the work its quiet power.
A World Premiere With Joy and Shadows
The evening concluded with Secret Goodbye, a world premiere by Trey McIntyre set to music by Sam Cooke. Performed by three men and one woman, the piece opened with an infectious sense of camaraderie. Dressed in white shirts and shorts, the dancers clustered together like a playful, movement-ready family, blending popular dance idioms with balletic leaps and lunges.The work’s exuberance recalled Paul Taylor’s Company B, but as in Taylor’s classic, darker undertones emerged. Solos punctuated by the sound of a heartbeat introduced a sobering reminder of vulnerability and loss—perhaps even an echo of Mikhail Baryshnikov’s iconic heartbeat performance. The shift added emotional depth without diminishing the dancers’ vitality.
