Pushing forward: Revolve Dance Project’s ‘Revolutions’
Our take
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The Revolve Dance Project's fifth annual "Revolutions" show at the Strand Theatre and Ballroom in Providence, RI, sounds absolutely electric, and the image of the audience cheering along with the trumpeter is a beautiful testament to the power of live performance. It’s moments like these, where art and audience truly connect, that remind us why we dedicate ourselves to movement and expression. For so many of us, the journey to feeling confident and strong in our bodies is about more than just physical fitness; it’s about finding a way to move that empowers us, that celebrates us, and that allows us to connect with our inner selves. It's a sentiment explored beautifully in [How to Track Fitness Progress Without a Scale: A New Look at Pole Success], which highlights the importance of celebrating progress beyond the numbers on a scale – a vital perspective for anyone pursuing a body-positive fitness journey. And when those journeys involve sharing our strength and grace with others, as the Revolve Dance Project clearly does, the impact is amplified tenfold. Thinking about how to share that joy and connection with loved ones? [Finding that perfect father-daughter dance song] offers a lovely reminder of the special moments movement can create.
The article’s mention of classical and contemporary movement premieres paired with original live music is particularly exciting. It speaks to a commitment to innovation and a willingness to push boundaries within the dance world. It’s easy to get stuck in ruts, to rely on familiar forms, but true artistry thrives on exploration. I’ve always believed that dance, especially when incorporating elements like pole work, is a powerful tool for self-discovery and empowerment. For me, it's about more than just the physical strength it builds; it's about the confidence, the grace, and the sheer joy of moving your body in a way that feels both challenging and liberating. The combination of diverse artistic elements, as demonstrated by Revolve Dance Project, suggests a layered and complex narrative, one that invites the audience to engage with the performance on multiple levels. It’s about storytelling through movement, about conveying emotion and ideas through the language of the body.
What truly resonates about the Revolve Dance Project's continued success is its dedication to creating a space for artistic adventure. The fact that this is their fifth annual show speaks volumes about their commitment to the Providence arts community and their ability to consistently deliver compelling performances. It’s a testament to the power of perseverance and the importance of supporting local artists. As we strive to create a world where everyone feels comfortable and confident in their own skin, it’s crucial to celebrate platforms like this one that showcase the beauty and strength of the human form, regardless of societal expectations. We often get caught up in the pursuit of an idealized image, but the truth is, true beauty lies in authenticity and self-acceptance. And while I love a good red lip and a killer pair of heels, I also believe that feeling strong and capable in my own body is the ultimate form of self-love. Even a preview of something like [AVID previews new one-act ballet ‘The Wolff’] demonstrates the continuing evolution and experimentation within the dance world.
Looking ahead, I’m incredibly curious to see how the Revolve Dance Project continues to evolve and innovate. Will they continue to push the boundaries of traditional dance forms? Will they explore new collaborations and partnerships? More importantly, how will they continue to inspire audiences and empower dancers to embrace their own unique voices and bodies? One thing is certain: the dance community is thriving, and the Revolve Dance Project is a shining example of the power of art to transform lives and create meaningful connections. The future looks bright for those brave enough to step into the spotlight, to embrace their power, and to move with passion and purpose.
The Strand Theatre and Ballroom, Providence, RI.
June 28, 2026.
A trumpeter riffed while the whole audience cheered and clapped along, in rhythm. It was a musical interlude of Revolve Dance Project’s fifth annual show Revolutions. That sort of moment always brings unique electricity to a space, and it certainly did here.
The show brought elements that it does every year: classical and contemporary movement premieres paired with original live music, as well as ways in which it’s pushed forward from the prior years’ shows. As more par for the course, what resulted from that pushing forward showed me potential to continue upping the ante – and excited me to see that happen (I only see signs pointing to that it will).
In isolation, Revolutions offered just enough edge to enervate and just enough calm to soothe. Seeing this program each year allows me to see trends, but also appreciate the singular feel for each one.
Danielle Diniz’s jazzy romp Night Cycles opened the program. It opened with an explosion of speed and expansiveness, the five dancers meeting the pizzazz of the live jazz score (composed by Luther S. Allison). Movement was classically grounded, but also sprinkled with jazzy ingredients: pencil turns, parallel shapes, cha-cha steps. Simple costumes of white tops and dark navy bottoms effectively complemented the understated classiness of all that.
Also aligning with that feel was the ensemble’s calm contentment – simply breathing through and savoring each moving moment. I felt the same just experiencing it from them. Audrey Lukacz added a little more fire and intrigue to her solo, peppering emotional variance into this non-narrative work. Overall, their fluid energy filled the stage and then poured out from it.
Lauren Flower’s memorable and touching Sugarcoat followed, danced by Charlotte Nash and John-Paul Simoens. A live singer (Katie Martucci, also Composer for the score) accompanied the dancers with this work, her voice soulful and rich. The movement met those rich, layered textures with every count. It again built upon a classical base – accumulating stylistic variance and an uncommon kinetic understanding on top.
Flower’s vocabulary had a striking way of melting expansive line into a release, a curve, a fold. It also offered a sophisticated sense of spiral, with line growing from or diminishing into circularity. Nash and Simoens executed all of that with so much attunement to each other that they seemed to move together as one organism – even while certain moments had them in opposition.
The opposition never lasted long, and their breathing together through each new weight shift and momentum pathway kept me feeling easeful, peaceful. As the score and lights dimmed, they found stillness – looking to upstage together. That felt like hopeful continuance, one of them moving forward together – into whatever they may find.
Kurt Douglas’ Melodic Mosaic came just before intermission, with a dash each of delightful quirk and compelling mystery. Businesswear-inspired costumes of bright colors, a score with an edge of mystery (composed by Katie Jenkins), and highly athletic – but also funky – movement all met right at the start.
Part of me thought “hmm, I’m not so sure these elements align” – but I came to see that as perhaps the point. “Melodic mosaic” indeed! All of these disparate elements ultimately did cohere, making the incongruous actually harmonious, and there was something soothing in that.
The edgy mysteriousness continued to pulse through the work, so both effects were on offer.
It takes intention and command of craft to make such a bold approach work. For me, all in all it did. A second section even added variance of tempo and overall energy – something I always root for. The piece was a sensory, energetic smorgasbord – and I certainly came away satiated.
Something much more strictly classical came after intermission: the Act II Pas de Deux from Petipa’s The Sleeping Beauty, with Nash and Simoens returning. It was the height of classical elegance, rhinestones shining and penchés picturesque…no matter that we were sans fancy opera house and sprawling stage. The pair’s versatility was impressive, with them as commanding in this high classicism as they were in Flower’s much more contemporary work.
I could see some people feeling like this work didn’t fit in the program, stylistically speaking – but I appreciated the change of pace. This work also made me realize that more such excerpts in programs like this could greatly expand access to classical works, at least give a taste of what the genre has to offer to those who cannot or just do not attend long story ballets. In my book, such expansion of access is an inarguable positive. Thus, even as something so classical, this pas de deux contributed to the program’s innovative spirit.
Emily Adams’ Moonsick closed the program, a work offering yet more outstanding movement styling and atmosphere. Dancers wore beautiful watercolor-streaked tops, in earth tones, with the live score (composed by Jim Oblon) seeming to draw influence from indie and classic rock. Gestures such as rubbing the neck while walking built a sense of emotional turbulence. From there, partnering that pushed limits of flexibility and physical laws only sharpened the undercurrent of unease.
An animalistic feel even simmered as the piece progressed: movement at times ferociously grounded, at other times racing forward with wild abandon. As throughout the program, a strong classical foundation supported something fresh, daring, and – to my eyes – totally singular. Aram Hengen’s solos stood out as particularly strong, memorable artistry.
Even for the edginess at hand, the cohesion of elements and the way my curiosity was piqued had me feeling that calm satisfaction I had throughout the program. Particularly when considering the work’s multiple sections, and an ending that felt like it could flow into further sections (with a sense of continuance rather than final resolution), I also felt like the work had potential to be expanded into something longer, with an even more developed concept.
Just as I have with the preceding shows from Revolve Dance Project, I also saw further potential in what they’ve built. I love a short program: one hour, in and out and on with life! But with the strengths of the program as it was, I found myself wondering what they could do with such expanded concepts – crafted into evening-length works, longer shows on bigger stages, for example.
In prior reviews, while loving what I experienced, I similarly wondered what more these commanding, committed artists could do – larger group works, for example. They delivered on that in this program, with the three ensemble pieces (the same ensemble of five exemplary artists) offering energy just bursting from the stage – energy I then relished. So, once again, the commendable work on offer had me wondering what more they could do; every time they dare to think and do bigger, they fully deliver.
Regardless, the commitment to bold new dance works paired with custom-composed live music is something exceptional in and of itself. Every dancer knows the moving-to-live-music difference, and Revolve Dance Project is bringing at least some of that feeling to their audiences. Sometimes we even clap along. Until the next time we do!
By Kathryn Boland of Dance Informa.
The post Pushing forward: Revolve Dance Project’s ‘Revolutions’ appeared first on Dance Informa Magazine.
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