At DanceArt Anniversary Show, Many Statements Get Repeated

Benita Bike’s DanceArt Company celebrated its 10th anniversary with a five-part program at the Madrid Theatre in Canoga Park on Saturday in which the basic tone was more benign than bold and more repetitive than rousing.

Indeed, Bike’s previously reviewed work, “Angels and Wantons” (1995), resonated the most, with Elizabeth Oppermann a dramatic presence in her tableau-like stances set to Baroque music. Also comporting themselves with some emotion: Carmel Cheney, Hilary Thomas and Tracey White, whose leaps and tumbling enlivened the 13th century liturgical music of this two-part suite.

Bike’s premiere, “Bloomers!” (2001), proved a piffle as Cheney, Oppermann, Thomas and White were joined by Carlene Lai in this high-kicking work set to the fiddlings of the Swedish folk group Vasen. Small, quick steps, deep knee bends and splits characterized this upbeat affair that takes its name from Victoria Orr’s white bloomer costumes, which neither flatter nor leave a lasting impression.

“Between Heaven and Earth” (1999) also explored the sacred, as the five dancers appeared more connected to the layered sounds of Hildegard von Bingen, traditional Muslim music from Egypt and Sudanese chanting. Moving from the mystical to the syncopated, the quintet offered balletic leaps, arabesques and occasional handstands.

The three-part “Old Postcards From Europe” (1998) featured Glynna Goff’s unattractive black hoop skirts as Cheney, Lai, Oppermann and White frenetically twirled umbrellas in the “Munich” section. Much hand-clenching ensued in “Vienna,” finally climaxing with “Budapest,” in which klezmer music helped elevate this work to a more cohesive, energized folk dance.

Also previously reviewed: “Nature Studies” (1997) saw the animal-insect world come to life to Lou Harrison music. Cheney, Thomas and White essayed robotic arm movements, while Oppermann again shone, here as the twig-bearing deer. Goff’s unfortunate leotards, a quasi-camouflage pattern, did not fare well under Eileen Cooley’s lighting, paralleling Bike’s work, which, alas, does not hold up much better under scrutiny.