Dance review: A turn in the spotlight

Who knew that Abdo Sayegh is still a virtuosic dancer of tremendous grace, kinetic articulation and emotional complexity? In Minnesota Dance Theater, he's largely sidelined when he's not encased in the "Nutcracker" costume and choreography.

Who knew that Karla Grotting, without tap shoes, can conjure a kingdom of sound, rhythm and motion with preternatural force? As a member of the Flying Foot Forum, she's in the company of compatriots Joe Chvala and Peter O'Gorman.

And who knew that Tamara Nadel had the focus, gestural precision and clarity of storytelling to telegraph the poetry of Bharatanatyam through her singular artistry? As a member of Ragamala Music and Dance Theater, she frequently draws attention but is still one of several in this outstanding troupe.

Such is the magic of the biannual "Solo" program, which ran last weekend at the Southern Theater: The gems are those solos in which the choreographers showcase the hidden talents of the dancers, while elevating their artistry.

Every year, three dancers are awarded a McKnight Artist Fellowship for Dancers. The Southern helps each dancer commission a solo from a choreographer of his or her choosing. The six 2006 or 2007 fellowship winners on last weekend's program provided a snapshot of the dance community's broad cultural and stylistic diversity. While the other three solos on this year's program displayed the dancers' strengths, however, they also elicited some bewilderment.

Mifa Ko was swift and commanding in the balletic "Prelude to a Swan" by Jerry Opdenaker. But the transition allowing her to change into a shorter tutu was deadening. Laura Selle Virtucio is a voracious, fearless mover. But in the postmodern "Can You Look Me in the Eye?" Colleen Thomas obscured Virtucio with projections of visual static, classic-film clips, darkness and a duet with a rubber chicken.

Colette Illarde was quietly sensuous in "Volar" by Manuel Reyes. But her repetitive, full-bodied flamenco moves had little dramatic arc.

In contrast, Tamara Nadel's mentors Ranee and Aparna Ramaswamy gave her "Anandavarshini," which required resplendent speed, and "Padari Varuguthu," a poetic narrative of gracious expression and delicate gestures.

Sayegh's "Traces of After," by Gioconda Barbuto, was full of kinetic geometry, sculptural animation and a mesmerizing phrase of arm pushing, head pulling, face wiping and torso twists.

Grotting's "Ajde," by Max Pollack, seamlessly integrated mouth percussion and vocalizations, body slaps, rhythmic footwork and powerful moves into a solo of fluid ferocity. Balkan vocalist Natalie Nowytski added aural and physical mystery to Grotting's solo-plus-one.

Camille LeFevre is a Twin Cities dance critic.