"Once"
Eisenhower Dance Detroit
Varner Hall, Rochester, Mich.
Sept. 19, 2025
Metro Detroit’s contemporary dance company Eisenhower Dance Detroit opened its 35th anniversary season Friday with a celebratory program, “Once,” that paid tribute to the choreographers and dancers that shaped its identity. The five-work repertory program featured dances choreographed by founder Laurie Eisenhower, current artistic director Stephanie Pizzo and founding company member Gregory Patterson with performances that were largely happy, playful and downright funny.
The program opened with “Unconditional,” one of Pizzo’s earliest works for the company. In her opening remarks, Pizzo said the work was about unconditional love, which could be felt in the movement. Performed to “Share Your Love,” "Lord Protect My Child” and “Sweet Forgiveness” by Susan Tedeschi, six dancers took to the stage in a mix of couples, love triangles and small groups expressing the joy and often frustration of love. Full of beautiful lifts and sensual partner work, the piece particularly captured the highs and lows of romantic love. This was felt particularly strong toward the end with the three couples lined in a diagonal, each pair with their own, unique passionate steps – some loving, some fighting – creating a powerful effect.
Patterson’s “Who’s the Boss?” was a charming crowd favorite. Performed to George and Ira Gershwin’s “Our Love is Here to Stay,” sung by Ella Fitzgerald, the jazzy piece was a playful flirtation between a couple challenging which of the two was the leader. The chemistry between dancers Meagan Cubides and Alex Hlavaty was palpable, and the gender-swapping steps – like Hlavaty swinging his hips or Cubides trying to kiss his hand – were both fun and funny. The joy, ease and play between the two of them were the epitome of relationship goals with a warmth that spread to the audience.
Eisenhower’s “Night Music,” performed to Mozart’s “Eine kleine Nachtmusik,” was another light-hearted work and played off the movement of sleep. A pajamaed Hlavaty opened the piece falling asleep on a loveseat, frequently rotating to find the most comfortable spot. One by one, five other dancers join him on the couch, each managing to squish in, toppling over each other in their own pursuit of a little shut eye. With flopping arms, synchronized yawns and drooly, open-mouthed faces – no kicks, jumps or turns here – the work was a creative dance of the dream-state that made us laugh out loud.
Eisenhower’s “Is This the Part” and Pizzo’s “Taking Back” were more abstract works. Donned in simple blue bodysuits, “Is This The Part” – performed to cellist Zoë Keating’s “Tetrishead” and “We Insist” – was a dynamic work with percussive movements that built with the progression of the music to create a mesmerizing vibe.
Joined by Eisenhower Dance students, “Taking Back” filled the stage dancing to “Blints Mix” by Michael Lowenstern and “Zinc” by Keating. The dance was quirky and frenetic, with a frequent transition between duets and small groups. One particularly beautiful lift featured a male dancer in arabesque holding his partner at the waist as she leaned forward to grasp his elevated leg creating a graceful “T” shape and counterweight, an impressive feat of balance. Energy peaked when dancers joined to encompass the full space, often maintaining their separate groups, creating vibrant organized chaos with constant visual dynamics that kept the eye moving.
The vibe of the entire evening was casual, more reminiscent of a dance recital than a formal dance presentation, with students coming in and out of the auditorium and some technical difficulties. It didn’t quite match the high caliber of the performance. It was reflective of the tight-knit relationship between the company and the students. This was apparent when they invited audience members to come on stage to learn part of one of the company’s earliest works, which had been preceded by a playful Zoom video of former company members also trying to learn (or remember) the dance. I joined the stage – mostly filled with students – and had a ton of fun. It gave me a deeper connection to the company, which I’d only seen once before.
Eisenhower Dance is a treasure to Metro Detroit with a technical strength and versatile repertoire that charms and entrances. I regret not having attended more of their performances but look forward to seeing what’s in store for the rest of its 35th season and beyond.
