Dance is an ancient art form, always growing, always changing, combining new and old styles and techniques. What then, to make of the spoof “Bullet for a Ballerina” performed in the Bolton Theater at the Cleveland Play House by Ohio Dance Theatre on July 23 and 24? Subtitled La Ballet Flup presents an Evening of Dance it was part benefit, part buffet, part dance production, part murder mystery—and entirely enchanting.

Once the curtain rose, however, there was a gracefully performed modern ballet Spindrift featuring four women and two male dancers, costumed in medium blue, set to Vivaldi’s Four Seasons. When this ended, the usual motley crew of backstage habitués—dancers, costume designer, stage manager, etc.—appeared, complete with arguments and dialogue between the owners of two dance companies which had just combined their efforts. These were ‘La Ballet Classique’ of Vera von Vichyssoise, and modern dancer Yvonne Flup of Flupworks: Dance for Anyone. Also prominent was the benefactor of the newest work Out to Pasture based on the life of ‘ordinary person’ Marvin Finklestein. This event will be the premiere of the new company La Ballet Flup.

The dance critic, Monsieur Henri Cacahuete is trying to interview these principals, but of course, a first-class wrangle breaks out, at which point, the second of the three actual dances interrupts the chaotic comedy. This was the wonderfully evocative ‘La Petite Mort’ featuring three couples dressed in light chartreuse set to excerpts from Bartók's "Music for Strings, Percussion and Celeste" and "The Miraculous Mandarin."

In front of a painted backdrop of stalks of grass, the dancers, in various combinations, portrayed a day in the life cycle of growing things. A goodly portion was devoted to the mating dance of the Praying Mantis, as symbolized by the title. The choregraphy of Denise Gula, founder of Ohio Dance Theatre, aided by the lighting, was original, clever and very athletic. Fortunately, the dancers were well up to the demands made on them.

Once again, backstage mayhem took over, resulting in the death of Mme. Vichyssoise—by apparent poisoning, stabbing, gunshot or hanging—which entirely interrupted the proceedings, and an intermission was decreed necessary. Luscious desserts were served to the audience, while the company pondered the situation.

When order was restored, the dance critic became an investigator, solving the crime, thus allowing the final dance of the evening to take place. This was the entirely modern, fast-paced Born in the USA! set to songs of Bruce Springsteen, Jeff Buckley, Elisa, Vast and others. Ms. Gula shared choreography duties here with two members of her extended company, Tito Reyes and Kyle Hill.

A mixture of local actors enlivened the straight parts of the spoof, which was written by Jonathan Wilhelm, a storyteller who has written other such dinner-theatre murder-mysteries. Everything presented on stage was first class, especially the dancing. It was good to see dancers who did not look anorexic. Long-legged, limber, lithe, athletic—combined with youthful vigor—they were equally at home in either classical pointe or modern hip-hop type dancing. Costumes, lighting and sound were excellent. The slim story-line of the murder-mystery was great fun, as was the faux-French accent employed by Mr. Wilhelm as the critic Monsieur Henri Cacahuete. Not so good were the peripherals: the timing and serving of the buffet before the performance was too slow and time-consuming, and the lack of a detailed printed program, giving accurate information about the production. But that’s a minor quibble, to be sure. Ohio Dance Theatre will announce its new season soon. For information, call 440-774-6077. Based in Oberlin, their performing home is at Cleveland Play House. from Cool Cleveland contributor Kelly Ferjutz artswriter@core.com (:divend:)