PERFORMING ARTS

PearsonWidrig DanceTheater

With the volume pumped up and driven by the catchy downbeat of a New Orleans brass band, the darkened stage at Dance Place was transformed Saturday into a multimedia reminder of the plight of New Orleans. In "Katrina, Katrina: Love Letters to New Orleans," PearsonWidrig DanceTheater presented an exploration of how "the American dream came unraveled."

While the text and stories were drawn from victims of Katrina and the video backdrop was a powerful reminder of the storm's damage, the choreography and pacing were flat. There was a limited vocabulary of simple movements: walking, running, spinning, tumbling and rolling on the floor. The work emerged from public workshops, and the pedestrian movement did not translate effectively to the stage with a company of well-trained dancers. In addition, the performers wore black clothes and the lighting was stark and shadowy, with the overall effect diminishing the importance of the movement and forcing the video and music to carry the work.

There were a few gems, however, such as the homage paid to Mardi Gras with colorful beads flying through the air as the 11 dancers scrambled to catch them and adorn their friends. Toward the end, company members emerged a few at a time, donning blue wigs and high heels, a sly twist on FEMA's post-hurricane covering of buildings in blue tarps. In a nod to the vibrant transgender culture in New Orleans, a male dancer was dressed in a sexy bustier and even painted his fingernails as he posed with great affectation.

While the work had the seeds of many good ideas and a wealth of material to work with, there had not been enough editing or polishing to hold an audience.

-- Barbara Allen

Leahy

There are 11 brothers and sisters in the Leahy family and each of them has at one time been a member of Leahy, their Ontario-based musical ensemble. With a sound deeply rooted in traditional Irish music (and presented just in time for St. Patrick's Day), seven of them came together for a performance Saturday at George Mason University's Center for the Arts.

One might expect a family group to be long on gimmick with some members short on talent, but there are no weak links in this band. When lead fiddler Donnell Leahy stepped aside to let brothers Doug and Angus take center stage in "For the Love of Tara," they perfectly captured the song's peaceful yet mournful spirit. Erin Leahy, who had played piano for the entire evening, surprised in the finale by not only picking up a fiddle, but playing it strings-side down.

Leahy showcased some promising new songs that have not been recorded and are still untitled. One in particular, inspired by Scott Joplin's ragtime tunes, was a departure that showed a willingness to take chances.

The group also presented some step dancing that, like their music, called to mind traditional Irish art but didn't directly mimic it. While much of the footwork was drawn from Irish step dance, they discarded that genre's light bounciness and its rigid placement of the arms and torso, instead delivering a weighted, relaxed style.

-- Sarah Halzack