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You don’t need to know a pirouette from an arabesque to enjoy this show.

High-level performances by an energetic, talented, and athletic cadre of dancers from the Muhlenberg Theatre and Dance program bedazzled with their performance Friday., Feb. 6.

The dance concert “In-Motion” was performed in early February at the Paul C. Empie Theatre, Center for the Arts on Chew St., Allentown on the campus of Muhlenberg College.

Co-Artistic Directors Noel Price-Bracey and Assistant Professor Elizabeth June Bergman showcased an exciting repertoire of dance styles, musical numbers, choreography and superior lighting technique.

About 65 students appeared in the several segments and about 15 students kept the wheels on the bus—backstage work—prop handling, and with some humorous push-broom work between numbers.

The directors let the audience see and appreciate some of the behind-the-scenes action.

The 90-minute concert included several dance routines. All music was recorded.

“Threads” opened the series and performed between pieces of the production. Choreographed by Bergman and Price-Bracey, it set a high bar for the concert.

The program describes “Threads” as an “ interstitial movement woven throughout the concert and between the other works”.

Music for “Threads” was "Brazilian Funk x House Type Beat-Fashion," produced by Wonderlust Beats and “The Ewer (Day)," by Japanese Breakfast from the original video game soundtrack by Sable.

Dancers included Josie Andreoli, Sophie Bustos, Cassidy Chason, Adrián Alfonso Padrón Curet, Gideon Graf, Tegan Ross McMonagle, Abby Ostrow and Jayla Robinson.

Maroon and black layered costumes helped set a distint look for “Threads.”

Choreographer Ricky Evans presented the “Maceo’s Horn.” The program notes encouraged the audience to participate by “making some noise” to support the dancers: a boisterous student body obliged.

The beat was powered by "Soul Power 74 Pt. 2," by James Brown, performed by Maceo and the Macks; "Get Right," by Rich Harrison, performed by Jennifer Lopez and "Get Right” composed and performed by Ekany;

Hip-hop style costumes set the scene for this jump’n number.

Emma Chen, Sammi Jaffe, Emma Lindquist, Natalie Ottaviano, Marlo Pepe, Jessica Slovak, Hailey Smith, Ella Tufariello, Maria Wetzel and Lexy Widi comprised the ensemble.

Robin Watson choreographed “cheers to sweaty Ella,” an energetic tap-dancing ode to working dancers wherever they tread the boards.

The troupe did their number costumed in black cocktail attire.

The routine was wildly entertaining as sweat-glistened dancers channeled their cultural roots. It showcased some individual talent as dancers took turns in the spotlight.

The program notes clarified: “This is a footnote (pun intended) on sweat. The glisten and glow. The soaked and slippery An anti-whole body deodorant movement. An interrogation on perspiration techniques at the intersection of identity and labor practices.“

Music for this fast-paced segment included “How High the Moon," by Morgan Lewis and Nancy Hamilton; "Perdido," by Juan Tizol, Ervin Drake and Hans Jan Lengsfelder; "It Don't Mean a Thing," by Duke Ellington and "Mack The Knife," by Kurt Weill and Bertolt Brecht. All the songs were from media recorded by Ella Fitzgerald.

Kudos to Zoe Maxwell who stole the spotlight with her exit by dropping her sweat-drenched hankie on the boards.

Dancers in “cheers to sweaty Ella” included Riley Browne, Bryn Cohn, Ashley Dietrich, Zachary Huseman, Zoe Maxwell, Sammie Smith, Ella Tufariello, Sophia Wentz and Zoë Wright.

Palmerton, Pennshlvania. native Sophia Wentz was noteworthy in this set. The ballet sequence, “Aglow in the Understudy,” was choreographed by Karen Dearborn “in collaboration with the dancers,” and accompanied by “Le Grand Cahier" by Alexander Litvinovsky performed by Metamorphose String Orchestra.

The dancers were costumed in beautiful puffy and sparkly dresses that seemed to “glow” as suggested by the title of the number.

Maggie Bende helped with the choreography.

` The performing dancers were Emma Gowen, Michaelah Hirshon, Molly Kopetchny, Ellie LaVoe, Emily Letso, Mallory Massache, Alyssa Sipman and Violette Stonebreaker.

The dance magic of Mallory Massache (Bridgewater, New Jersey and Ellie La Voe (Havertown, Pennsylvania) were fun to watch.

The dance sequences of “Electric Pastoral,” were choreographed by Lyndsey Vader.

Costuming was minimalist, but high impact with loose pants and shirts in beige, white, green, gray and black.

Musical accompaniment: "Drum Message," by Christophe Zurflu "Multi-tonal Drone," from Sci Fi Soundscape and "Says," by Nils Fral

The choreography was “loosely inspired”, according to program notes, by Philip K. Dick's “Do Androids Dream of Electric Sheep?”

Performers for “Electric Pastoral: Annalise Christie, Kylie Connell, Ellie Dean, Emma Forster, Ayala Goffin, Riley Konstance, Milo Livingston, Chayse Magliane, Marlo Pepe Doriangelys Ruiz, Hailey Smith, Ariana Stambaugh Lexy Widi and Machai William.

Machai William from Trenton, New Jersey established himself with an eye-catching performance.

Allentown, Pennsylvania’s Chayse Magliani turned in a stellar performance in “Electric Pastoral.”

The dancing by Hailey Smith (Pittsburg, Pennsylvania) was noteworthy.

The dance program, “Though it is ever-present, The Rhythm is more palpable when we're dreaming,” was choreographed by Michael J. Love with Robyn Watson credited as Rehearsal Director. Love is the 2025-2026 Baker Artist in Residence.

The program suggests that viewers, “reflect on how we may be more conscious of the life-giving potential in/of The Music and The Dance as we pass between states - from awake to dreaming, from the now to the then or the what's next, and from inside ourselves towards the communities that sustain us.”

The dreamers themselves simplified the official press release with polished, professional and inspired dance. The costuming for this tap number was in all-white variations.

Dancers for the set: Bryn Cohn, Ashley Dietrich, Zachary Huseman, Natalie Ottaviano, Sammie Smith and Sophia Went. Zoë Wright was credited as Dance Captain.

Music for “Though it is ever-present, The Rhythm is more palpable when we're dreaming” was by "Club Lonely," by Li'l Louis and The World.

“Red” is a stunningly costumed (thank you Bell Hansen) dance that closes out the dance concert. The huge, red hoop skirt dress was impressive. The caged dress was visually counter ballanced by the dancers in all black.

Choreographed by Heidi Cruz-Austin, it features an original score by Eilidh Wright.

It was inspired by the by Cruz-Austin’s poem, “Red.”

“Wrapped in red, we fall short / Tunneling through darkness of our own design. / We bare our bones, we crave the unknown / Searching for a way out of the void.”

Making this dance a delightful reality were Ellie Dean, Emelia DeLong, Nora Elkhyati, Emma Forster, Ellie LaVoe, Katie Linker, Mallory Massache, Sophia Senderov, Ariana Stambaugh, Violette Stonebreaker, Machai Williams and Marissa Zaoutis.

Ellie Dean from Havertown, Pa. was a standout dancer in this set.

Ann-Christie Estor was the understudy for “Red” with Madelyn Kroeper, Marcelina Palmer and Lucy Rudni credited as Rehearsal Assistants.

Costume Designers Rea J. Brown and Bell Hansen created a lot of sparkly sparks where the concert needed fire and light. When the mood was subdued, they helped the imagination with understated, but perfectly conceived wardrobe. Their costuming is outstanding in each ensemble.

With 65 hoofers hitting the boards choreography had to have been a challenge. Faculty Choreographers were in the wings to help: Heidi Cruz-Austin, Karen Dearborn, Lyndsey Vader and Robyn Watson.

The spectacular artistry of Lighting Designer Haley Brown was an intricate part of the show. Especially noteworthy was the skilfull use of fill and backlight to create the depth and contrast making each dancer a three-dimensional entity on the stage.

Production Stage Manager Madeline Doherty put together a must-see or sorry-you-missed -it show. An outstanding effort.

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Douglas Graves, Freelance Writer
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See www.ontheskyline.blogspot.com for some of my favorite stories.