The fun and entertaining performance All That… is a vibrant contribution to Auckland Tempo Dance festival again this year.  All That at Q Theatre brings the essence of jazz dance to the heart of Auckland’s artistic performance centre.  As the audience waits for the show to begin, there is anticipation and excitement scattered amongst the chatter and wine.  The show opens with video clips of Tempo Dance Festival as a lovely introduction, a reminder that this show, and we as spectators, are part of this larger urban event.

All That begins and we enter a world of jazz, soul and energetic fun.  Director and choreographer Kayla Paige presents an inherently jazz performance that also intertwines other genres in a way that is both effortless and intriguing.  Spanish inspired Mosca De Flamenco opens the night.  The lighting and silhouettes immediately capture our attention, and then the dance gradually eases into flamenco-inspired jazz.  The dynamics range as performers explore suspicion, aggression, sensuality and strength.  The flamenco guitar signals  a satisfying delve into a fun, sexy and dynamic reflection of the Spanish style, with enthusiastic audience reaction. 

The variety of performance styles and expressions fits perfectly, and I find myself smiling as the dancers immerse themselves in the soul of the pieces.  The collective sections are well crafted, and though the manner in which individual dancers are used doesn’t always flow, or feels out of place, the overall work is exciting, enjoyable and leaves me wanting more.

The song “Tuity Fruity” plays into the darkness, setting the scene for us to love the next piece before we even see any dancers enter.  And the dancers’ back up each piece, their performances are stunning.  The Game is a fun and playful, over-the-top piece, performed in a retro/contemporary hipster-jazz style.  We’re led into an entertaining, at times hilarious boy meets girl, love triangle saga, reminiscent of a classic Cyd Charisse and Gene Kelly love story.  The committed stylistic facials are a highlight in this piece, allowing for the audience to enjoy and indulge in the experience of the performers.  Although some of the facials verge on over-the-top, they fit the genre perfectly.  Soloist Liv Tennet is captivating, incredibly funny, and always charming as she communicates with us her range of emotions throughout the story.  Todd Williamson brings his unique style and charismatic appeal to the part of the ‘boy.’

Some lack of cohesiveness in timing is present during the song “Georgia,” but as we move into the classic “My Girl,” the connection and musicality ooze out of the piece.  It is incredibly gratifying to see that many jazz dancers performing together, and representing the soulfull essence of jazz at such a high technical level.

The lyrical and more moody Biomelecular begins with a stark stage and erratic timing that draws the audience in.  The lighting is dark, verging on creepy, and the heartbeat music enhances the instensity of the opening duet.  Biomolecular has a more modern essence to it; still distincly jazz in its movements, but also drawing on a range of genres and artistic and musical sources.  A highlight is the beautifully flowing contact work in the female duet.  The switch between golden warm and stark cold lighting contributes to us being transfixed with the interaction between these two dancers.  More dancers enter, and the movements take on a fascinating stylistic weird-ness.  As the heavy electronic music increases towards the end of the piece, so does the enthusiastic crowd response.

The final piece of All That.. is a truly satisfying dance for any jazz dancer or jazz-lover to experience.  Think ‘Fame,’, with the vibrant excitement that only classic jazz and poofy eighties hair can bring.  However this is not a ‘jazz recital’ piece, despite the inherent cheese necessary in a dance like this.  Instead, this is a skillfully performed and well choreographed tribute to those classic ‘Fame’ and ‘A Chorus Line’ moments.  The audience loves it.  The connection beween the audience and the performers grows as they dance funk-soul at us and make us want to get involved.  Locking, whacking and popping all contribute to the final piece, interestingly titled: Funky Party Leg. 

Kayla Paige, Paul Edward Wilson and Todd Williamson show their choreographic chops as they weave genres while still infusing the soul of jazz.  They bring us one of the most powerful moments through simplicity as three dancers walk slowly forward, enhancing the mood and drawing us into the next phase of the piece.  Sexy, fun and soulful attitude pervade this piece; Tina Turner would be proud!  This culminates in an explosive funk celebration of Prince, leading to a Broadway style finale as everyone dances on stage in a form that is both soulful and perfectly cheesy at the same time.  A great way to wrap up the show that was indeed All That.

There is one more performance on Thursday October 13 at 8:30pm

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