Choreography Lacks Divine Inspiration

Being an all-female company, it’s no surprise that Donna Sternberg & Dancers wished to explore myths, fables and legends from goddess cultures around the world. That they did so in such a mundane, uninspired fashion in the seven-part premiere “Nuestras Partes Nobles Tienen Los Dientes” at Loyola Marymount’s Strub Theatre on Friday--part of their 15-year anniversary celebration--was particularly disappointing.

But to have so little new to say--choreographically at least--was even worse. A cliche throughout, the two-hour piece took flight only twice: when guest artist Josie Walsh, a former Joffrey Ballet dancer, performed “Wild Woman,” a solo that wasn’t exceptionally wild but allowed her ebullient spins and leaps; and when guest actress Kristen Wiegand animatedly spun a story, “La Loba (Wolf Woman).”

Sternberg’s moves lack variety, with her dancers--Angelina Meany, Annette Sanchez, Jennifer Backhaus and Lexi Pearl--performing too many contortion-like yoga postures, splits and meaningless arm gestures. “Gaia (Beginning)” flowed into “The Cave Opens (Birth),” which also had guest musician Steven Schick coaxing propulsive, African-influenced rhythms from his percussion instruments.

Unfortunately, Schick then performed his solo, “Corporeal.” Shirtless, sitting cross-legged, he produced sounds by hitting his head and body with his hands, finally lying on his back, snoring. “Kinship,” saw Backhaus and Pearl execute strong partnering, while stealthy unisons in “Kali (Devourer)” were nullified by Schick’s onstage presence shaking maracas. Taped music also contributed an annoying hum.

Sternberg, billing herself a “Weaving Spirit,” appeared between sections, breathing heavily and wearing a strange-looking headdress as she sidled around. These goddesses, clad in Kiyomi Hara’s drab unitards, are in need of some divine intervention.