Review: Theater and Dance Department’s “Spring Performance Mix”

Maya Sasaki-George ’28

Staff Writer

The Theater and Dance Department’s “Spring Performance Mix” ran from March 6-8, 2025. The performance consisted of a collection of five solo works exploring disparate topics through both dance and theater. Each performance was incredibly unique and I enjoyed witnessing the five clear artistic visions represented on the Performance Lab stage. 

The show opened with a number called “Interwoven,” an interesting interpretive piece performed by Jade Mellitz ’26. The dance involved three large props — what appeared to be wired netting frames covered in colorful strips of fabric. Using spry, balletic movements, Mellitz manipulated each prop in turn, sending the fabric strips fluttering as she spun the net around. The flurry of movement and color, coupled with Mellitz’s grand sweeping gestures, evoked the rippling tentacles of a jellyfish; graceful, mysterious and a delight to behold. 

Next was an athletic and technically impressive number by Sydney Young ’26 entitled “I’ll Never Love Again,” an acrobatic dance to the Lady Gaga song of the same name. I found myself in awe of Young’s skill and technique as she performed the routine, at one point executing an aerial cartwheel with ease. The emotions described in the song were evident in Young’s performance and the way she put her entire body into every movement. 

Third came “Orf’s Room,” a compelling theatrical piece by Orfeas Spyraki ’28, a series of actions taking place inside the confines of a square made by three whiteboards. The audience watched Spyraki assemble his “room” bit by bit, intrigued by his silence and the complexity of the set; we then listened to him recite the poem “The City” by K. P. Cavafy, a meditation on restlessness, regret and stagnation. As Spyraki stretched his limbs, doodled on the whiteboards, rearranged his room and generally killed time, I considered the poem’s words: “How long can I let my mind moulder in this place?” he asked. Spyraki closed his performance by climbing into a makeshift bed, still trapped inside the room. 

The fourth performance was by Vicente Gil ’27, entitled “Just Dust.” This piece was part-dance, part-performance art and part-stand up comedy crowd work. Gil began by addressing the audience directly, asking for participation with a series of open-ended questions such as: “Can you describe a time when everything worked out perfectly?” I was amazed by Gil’s ability to draw out personal stories and memories from the crowd, despite the air of unease and playful discomfort that rippled through when he first approached with his questions. Gil’s piece ended with a series of breakdance inspired moves making use of the full stage.  

The show closed with “Dashavatar,” a classical Odissi dance performed by Radhika Ramdas ’28. As described in the program, “the dance represents the ten times Lord Vishnu (The Preserver) descends [to] Earth to restore cosmic order.” The story stems from the poem “Geet Govind,” written by Jayadeva. Using facial expression, hand gestures and evocative moments, Ramdas depicted a complex narrative told through ten distinct avatars, including Buddha. Ramdas’s ankle bells created a lively rhythm which highlighted her movements and technical skill. As the “Spring Concert Mix” concluded, I found myself deeply impressed by all five performers and their dedication to their craft.