shanmonster | A Review of Asala by the Arabesque Dance Company

I was terribly afraid I wouldn't make it to see Asala last night because traffic was so bad. I ended up missing the first performance, but no matter. The rest of the show is awesome, and I had an excellent seat: balcony, front row and centre (thank you so much for the ticket, Dharlene!).

First, the negatives (which are few and relatively minor). The lighting is not always ideal. The spotlights shine straight down on the soloists, when an oblique angle would be far more flattering. In one dance, half of the dancers show up in cool blue, then are joined by dancers in warm coral. When the blue dancers are by themselves, they look splendid. But the contrast with the coral is not a flattering one, as the coral makes the blue look washed out in comparison. Also, the male dancers, as a whole, aren't quite as polished and tight in their choreographies as their female counterparts. That being said, they certainly have their share of fans in the audience. There were several shouts of "Valizan!" as he danced.

But despite these quibbles, Asala is the best dance show I have ever seen, hands down. The group choreographies are intricate without being chaotic, colourful without being garish, and the formations complex without muddiness. The show does a superb job of showcasing the various dance styles of the Middle East: mesmerizing devotional Sufi spinning, Khaleegy dances in glittering thobes with subtle movements and grand hair tosses, ultra-feminine and flirtatious Melaya Leff, militaristic tahtiib dances and stage fighting by the men and the contrasting cuteness of the women's raqs assaya, the competitive courtship of the Hagallah, the intricate footwork of Port Said Simsimiyya, and of course the most well-known style of the bunch, raqs sharqi.

But the show isn't just about dance. It's also about the music, and the orchestra is phenomenal. Bassam Bishara's oude taqsim brought tears to my eyes, as did Najwa Tannus's vocal renderings of the epic Inta Omri. And who can forget the insane, intricate drumming of Suleiman Warwar? Zaghareets aplenty issued forth from the audience for that performance.

If you're in the Toronto area, you're in luck. The show continues until December 3. Being dead is your only excuse not to go.