Small works add up to a big effect

Once again, TU Dance delivered a memorable concert of compelling, entertaining and emotionally resonant contemporary dances, all but one choreographed by its prolific co-artistic director Uri Sands. The generous program featured three of Sands' rambunctious ensemble works -- including a premiere, "Beverly"-- that demonstrated and celebrated his seamlessly diverse movement vocabulary. And the virtuosic dancers infused each piece with gracious, even joyful, style.

Two exquisite gems, however, anchored the show with thrilling gravitas. One was co-artistic director Toni Pierce-Sands' solo by Ron K. Brown, "Clear as Tear Water," performed during this concert to Lela Hathaway's version of "When Did You Leave Heaven." Pierce-Sands was, at once, singularly commanding and everywoman in this work of sumptuous simplicity, in which she alternated contemplative stillness with rapid, space-scooping movements.

The other small work was Sands' new duet "... And Let Go," performed by Eva Mohn and guest artist Nathan Trice. Set to a relaxation podcast, the work was as rich and soothing as the warm honey the narrator suggested the listener imagine was coursing down tired muscles. As the dancers moved with silky, limber precision -- weightlessly dropping, lifting and supporting each other in space -- they transferred a sense of effortless energy to the audience, as well.

In contrast, Sands' ensemble piece "The 6 Beginnings," set to J.S. Bach, featured a sweet, sharp choreography of quirky lushness -- which included frog legs, bent arms, flinty footwork and surprising angles -- that bloomed into a humorous section of interlocking bodies and a men's trio of muscleman and voguing poses.

Sands' "Shapes and Gaits," on the other hand, was an intriguing, if incongruous work. Taped text about prejudice and injustice was juxtaposed with giddy dancers wearing striped tops and purple pants or skirts performing a cartoonish choreography, as Mohn darted through in a web of elastic bands.

The new "Beverly," however, set to music by Maze and Frankie Beverly, was an uplifting work of rhythmic musicality. The sensual, swirling blend of ballet feet, loose hips and shoulders, open-legged turns, strong poses, romantic jumps and catches, and rumbling Africanist torsos concluded with the blue-lit dancers silhouetted against a yellow background. And so was yet another TU Dance audience left satiated and aglow.

Camille LeFevre is a Twin Cities dance critic.