United Dance Productions -- `Fusion' -- City Hall, May 29-31 United Dance Productions just keeps getting better at transforming physical expression into pure poetry.

"Fusion'' presented an incredible blend of themes and styles within a single show.

Avid fans of art and dance would have appreciated the depth and variety of the performances. Each piece was so dramatically different from the next that the audience was held spellbound between each work, having no idea what to expect.

The audience was positively humming with anticipation prior to the show, and they were not disappointed. The first performance, entitled "Damballah'', was an artistic enactment of a Haitian vodun ceremony praising the sky serpent deity. The piece began with Damballah devotees slowly swaying their hips to a low, rhythmic drumming, with flags and burning candles held aloft. The ceremony gradually builds into a frenzied rite until one of the devotees, writhing in religious ecstasy, is gripped and brought under control by priestess Suzette Harvey.

The African-inspired polyrhythms of "Damballah'' shifted into a new-age beat in the surrealistic piece "Elements''. This section of the performance, choreographed by Suzette Harvey, was noteworthy for having what appeared to be somewhat technically difficult movements appearing with remarkable fluidity.

The individual collapsing of each dancer at the end of the piece appeared to express the movement of petals dropping from a dying flower.

In addition to the UDP's regular performers, the audience was treated to the talents of guest artists Kevin Mallone and Hollie Wright.

Ms Wright is a modern dance/dance education major at the University of Arts and is acclaimed as one of the most promising young talents in Philadelphia today. The range of her skill was evident in her transition between her solo free-flowing modern dance in "Because You Loved Me'' and the abrupt, abstract duet "Of Another'' performed with Mr. Malone. Perhaps most impressive was Ms Wright's physical flexibility -- the silhouette of her leg extended at a 180-degree angle against a vivid blue backdrop in "Because You Loved Me'' brought a round of applause from the audience.

Kae Thomas, as a relatively new choreographer and one of the newest members of UDP, displayed remarkable skill in her piece "12th Gratification''. Enigma's "Principles of Lust'' was music well-suited to the erotic overtones of the dance. The deep brown of dancers' costumes was broken only by a vivid red sash used possibly as a symbol of passion. The lighting in this piece heightened the bold lines of the dance -- at one point dancer Zalika Millett moves in and out of a spotlight centred on the red sash crumpled on the floor, extending an arm into the light for an unusual effect. Later, in the symbolically erotic encounter between a male and female dancer, the lights are cut entirely for a moment -- leaving some movements of the dance solely to the audience's imagination.

What stole the show, however, was the talent showcased by the junior company.

The final three acts, "Rags'', "Drill Team'' and "Old School Style'', were particularly noteworthy. The raw energy and talent of the young performers sparked the attention of the audience like a live wire. "Old School Style'' sported urban dancing and hip-hop beats that had heads noddin'. The UDP crew brought back dances originating in the streets including breakdancing, the worm and poppin'.

The standing ovation the Company received at the show's conclusion was richly deserved. Under Suzette Harvey's superb guidance and professionalism, "Fusion'' offered the audience a glimpse of what is possible through artistic extremes in dance.

KIM DISMONT ROBINSON REVIEW REV