There’s something addicting about Project Flux. Maybe it’s the cool kinetic connection the dancers bring choreographer Lydia Sakolsky-Basquill’s sometimes quirky, always intriguing movement. Or the eye opening use of music, work and breath she uses to create her soundscapes. Or the strong and eclectic mix of performers — both in style and age — she draws to her work.
This concert featured the return of powerful dancer and Boise Dance Co-op co-founder Jason Hartley, younger, Julliard-bound dancer Barry Gans, Project Flux dancers Selby Jenkins, Ballet Idaho’s Adrienne Kerr and Jessical Sulikowski, Idaho Dance Theater’s and LED’s Evan Stevens and Jessica Liu, and Ballet Idaho academy dancers Cydney Covert and Lydia Herman.
Most likely it’s the combination of all that reaches her audience and keeps them mulling over her work days later, especially this concert’s final piece that is one of the most clever and creative performances of the year.
Project Flux opened its annual summer program on Friday, June 3 at Esther Simlot Performing Arts Academy Annex Theater with a trio of highly creative, innovative works — two reprised from past concerts, and one new, fun interactive piece.
“Mansion, Apartment, Shack, Home” (a reference to the kid’s game MASH), a piece from 2014, opened the show. It’s a cool piece because it offers an insight to her process. In the opening Liu moves Sakolsky-Basquill into a series of positions that become the syllabus of the dance, that repeat in cycles and builds throughout the piece.
In the second movement Hartley and Stevens share a duet of power and strength as they mirror one another and then do battle with a delightful display of control and artistry. That’s topped off by Sakolsky-Basquill and Hartley who bring back all the themes.
“Successive, Stagnant,” a piece she created for Ballet Idaho’s “NewDance Upclose” earlier this year got freshened up with new casting and movement that showed the dancers nicely.
Kerr and Gans showed a dynamic and balanced physicality in their featured parts. Sulikowski made a dazzling presence as did Jenkins, Covert, Russell and Herman, especially in the group sections where they bourrée sideways, hunched over as if playing a video game, then blast into a section of intensely fast gesturing.
The final piece, “Navigate. Auditory. System. Alignment.” is the most intriguing of all. I wondered who would do it first, and I’m not surprised it was Sakolsky-Basquill. She created a piece using the latest trend of wireless headphones that offers and unique individual and shared experience. Boise’s Kaleidisco provided the headphones.
I don’t want to give too much away, but there are two soundtracks for you to choose from that synchronize with the movement on stage. It’s a unique way to interact with the work. For the audience, you can choose what to listen to — and it’s surprising how quickly you can decide what you want —and the dancers get to see the audience lights change as the piece progresses.
The choreography was structured improv, a signature of Sakolsky-Basquill’s, that was dynamic and fascinating. The duet between Stevens and and Sakolsky-Basquill was breathtaking as she shifted around his body, never touching the ground.
The final section with Jenkins, Russell and Sakolsky-Basquill, was mind-blowing, a physical feat not to be missed.
If you at all interested in dance, don’t miss this performance.
8 p.m. Saturday, June 4, Esther Simplot Performing Arts Annex, 501 S. 8th St., Boise. $20. ProjectFluxDance.com and the door.