Dance Invitational Has Just a Few Buried Gems

The Los Angeles Dance Invitational is a new event that has two goals: to showcase local choreographers of various dance genres and to raise money for the work done by youth services programs of the L.A. Gay and Lesbian Center. What the event does not have so far--judging by its launch at the Pacific Design Center on Friday--is a guiding light who can curate a dance evening that matches in passion and excellence the commitment of its supporters.

Any fund-raiser, gala or benefit needs performance jewels--bright, impressive, unique gems--polished or raw, as long as they pop out and make you smile, sigh or admire. But among 13 works, this program had only a handful of worthy ones. And one had to get through some aimless, self-indulgent and indifferent dance to get to them.

Waking up the house, however, were the engaging and well-directed swing kids of Paul and Arlene Kennedy in a rousing version of “Sing, Sing, Sing.” Legs flew, the beat bounced and youthful personalities prevailed.

In a town where you might expect cutting-edge street and club dancing, Fharo Miller’s untitled breakdance and hip-hop work was pretty tame. But from the contemporary jazz world came another gem--Bill Goodson’s classy ensemble of 12 sharp young women, sheathed in black jersey. Creating a delightfully cool draft to Janet Jackson’s song “What About That,” they kicked, stalked, swirled and dropped with attitudes so elegant and biting that they seemed to speak for anyone who ever wanted to fight back.

The few snippets of ballet went by quickly--a brief pas de deux made by renowned teacher Stanley Holden, a tiny slice of Balanchine’s “Who Cares?” danced by young Heather McGreevey. From modern dance, there were bold strokes by Jamal Story and Jeremy Tatum in a Lula Washington excerpt from “This Is Your Dance Life,” as well as Jamie Nichols in a flamenco-influenced solo.

Mark Goodman ably represented the strength of L.A.’s tap community with his satisfyingly dense footwork in a small space. And Maggie Danielsen’s “Swany” made an amusing interlude by putting tap shoes on the already percussive-linked “Little Swans” from “Swan Lake.”

But there were too many tepid works to make the first Los Angeles Dance Invitational a respectable event. Add to this some painful static from the sound system and it seems clear that a benefit-doctor should be on call.