DANCE REVIEW : L.A. Troupe Mixes New, Old at Bovard Auditorium

Louise Reichlin and Alfred Desio, mainstays of Los Angeles Choreographers and Dancers, combined new and old pieces for an occasionally exciting free concert of tap and modern dance in Bovard Auditorium at USC on Thursday night. Both choreographers seemed to reach for inspiration from ritual activity--Desio sticking with the casual rituals of tap, and Reichlin on less stable ground, mining what she clearly imagines to be the exotic Middle East.

Reichlin’s 1992 “Turkish Delights,” set to traditional music, contain scenes that range from a folk dance section with modern steps thrown in, to a questionable Dervish-inspired (and costumed) piece using movement based on the sacred religious practice of whirling (with modern steps thrown in). Lots of sinewy hands, sultry gazes and sensually unfolding limbs set the whole work up as a modern dance version of the second-act, ethnic dances from “The Nutcracker,” something that’s possibly not needed at this moment.

Radiating the most heat of the evening was the premiere of Desio’s “Brandenburg Boogie,” for which he was joined by four personable young tappers from Colburn Kids Tap/L.A. In a solo full of satisfying synchronicity, Desio did what we all long to do--keep up with the Bach beat. And in a traditional tap lineup, all five dancers whipped through clever, quirky canon and unison steps. Even the weakly projected taped music couldn’t spoil the mood.

Closing the program were selections from Reichlin’s perennially popular and still witty “The Tennis Dances,” previously reviewed in these pages. Especially delightful was Allison Higa, as a ferocious player who whipped on and offstage like an elegant tornado. Higa also shone in the “Together” section of Reichlin’s “Urban and Tribal Dances,” selections from which were otherwise unremarkable.