Klenjoski Company’s Program Reveals Ambition, Promise

Rage, loss, joy and the power of movement are some of the themes Regina Klenjoski Dance Company explored in its six-part program Thursday at the James Armstrong Theatre in Torrance. Klenjoski, of Macedonian descent, is a dynamic, graceful and indefatigable presence who appears to have it all. Choreographically, however, her all can go on too long after her ideas are initially presented.

Such was the case with the premiere, “Flesh & Blood,” a 35-minute work born from the harsh realities in Kosovo. Set to Daniel R. Magoun’s original techno-aggressive score, five black-clad dancers often looked as if they were in a hip, futuristic club (think “The Matrix”)--posing, skittering and leaping but mostly bathed in angst. Isolation ruled as dancers appeared in individual squares of light (designed by Liz Stillwell), arms outstretched.

Ambitious as the work is, it fizzles under its own weight, the technically sleek and earnest performances notwithstanding. Eric Gordon, whose video “Lost and Found” featured too many pensive close-ups of Klenjoski and which preceded “Flesh & Blood,” also supplied clips here, prolonging the piece unnecessarily. A final burst of light brought the curtain down anticlimactically.

Two duets--the evocative “Waiting for Solitude” and “She Said”--saw a feral Albertossy Espinoza partnering Klenjoski. The former, set to the Kronos Quartet, made use of languid unison; the latter, with a sequined Klenjoski, succeeded in capturing the essence of an erotic mating dance. “Paired Down”--with Heather Gillette, Marissa Labog, Megan McClellan and Klenjoski, set to the Beastie Boys--proved an exuberant romp reminiscent of Twyla Tharp. Undulating torsos and sprightly jumps kept the two sets of partners kinetically interesting.

“Little Kukla” (Macedonian for “doll”), set mostly to Celtic music, featured Gillette, Labog, Deidre Jenner and Milva Rinaldelli in a suite celebrating innocence. Solos, duets and trios alternated between the lyric and lighthearted, with mini-handstands, skipping and quasi Irish-stepping upping the frolic ante.

All in all, Klenjoski, a recent transplant from Chicago, is a promising newcomer on the Southland dance scene.