River North Projects Heat as Dancers Sizzle, Preen

Sex, thy middle name is River North Chicago Dance Company. Talk about bodies in motion. This 13-member troupe gives new meaning to the word exhibitionism. And what stuff was on display. Under the artistic direction of Frank Chaves, the company ran riot in a nine-part program of old and new works at Cal State L.A.’s Luckman Theater on Saturday.

Which isn’t to say that all the choreography was as dynamic as the dancers; it wasn’t. But for a high-octane, pop culture preen-and-parade-on-stage experience, this company packs a Britney Spears-type punch, with jazz, modern, salsa and ballroom blending in a commercial blur.

Chaves’ works, however, proved the least successful: “Love Will Follow” (2001) saw six couples in Fred and Ginger mode, sans passion; “The Two Sides of Tes--and Then Some” (2000) first had five men vying for the delectable Molly Cofman, before stripping down to towels and then briefs for an enigmatic all-male ballet that could have been dubbed “Bathhouse.” Notable for his fine form (and pierced nipple) was Tony Peyla.

Co-artistic director emeritus Sherry Zunker’s “Vent” (1998) provided heat, as Brittany Blumer and Cofman moved with slinky aggression.

“A Mi Manera” (2001), choreographed by Ginger Farley, Kevin Iega Jeff and Zunker, showcased Shannon Elliott, Cofman and James Gregg’s whipping turns, while Ashley Roland’s structured improvisation, “Beat” (2001), gave Lara Tinari a chance to maniacally shine.

Daniel Ezralow’s “Pulse” (2000), an exercise in lyrical floor-sliding, was typical of the evening’s slick, albeit superficial, sensationalism.