Soggy ‘Neshama’ a well-meaning mess

The massive downpour wasn’t the only problem Saturday night for some Angelenos. The locally based Keshet Chaim Dance Ensemble, under the artistic direction of Eytan Avisar, struggled at the International Cultural Center in an ill-conceived world premiere, “Neshama, Stories of the Soul.” Indeed, it was a coin toss as to what was worse -- the dancing, the music, the choreography, the set (a fabric-shrouded fake boulder) or the lighting.

Billed as a multimedia production (there were also slides) inspired by “personal spiritual journeys enriched by thousands of years of Jewish legends, commentaries and religious texts,” this two-hour, 23-part concert, though well-meaning, was disjointed and sloppily performed. Adding to the fractured quality was Israeli countertenor David D’Or, who, accompanied by four able musicians for his bits, periodically sauntered on stage between the frenetic dances, offering his falsetto vocals.

Though he might not be warbling in Handel’s “Rinaldo” any time soon -- his performance was heavy on amplified reverb -- D’Or did manage, however, to offer the evening’s only soul.

Strung together by a lofty narration written by Miriyam Glazer and performed in neo-imperial voice-over by Frank Sinatra Jr., “Neshama” attempted to reenact the history of the world, with Jerusalem as the core.

Ilana Cohen, assistant artistic director of Israel’s Inbal Dance Theater, provided the only fluid choreography on view. Purposeful, with intricate footwork, her contributions included “Angels,” “Adam and Eve” (both co-choreographed with Tsion Marciano) and the spirited finale, “Hu Yavo.” Unfortunately, the dancers, occasionally struggling with a scarf or a water jug, made the work look difficult as, with fixed smiles, they appeared to count beats. As for Avisar’s dance-making, his movement vocabulary was restricted to a few steps: tribal-like stomping, group circling and primitive line formations.

Compounding the problem was taped music that was heavy on new-age synthesized pap. Where is klezmer when you need it? The amateur lighting ranged from feeble strobing to miscued high school auditorium fare.

There’s something to be said for inspired costuming, though. Created by Nili Glazer, the evening’s sumptuous silk tie-dyed tunics, swirling satins and fabulous fringed creations might have owed much to Cirque du Soleil and “The Lion King,” but they provided visual punch.

Currently celebrating its 20th anniversary, Keshet Chaim might be better served by reflecting on its own history.