The second weekend of Lindsey Matheis' (a)merging compilation show is a lot prettier than the first. While the first weekend leaned more experimental—with such ornaments as rave rings and frying eggs—the second is largely straightforward, pleasant dance. The lineup of choreographers includes Princess Grace Award-winner Katie Sherman and Portland Festival Ballet dancer Emily Shultz, both of whom present pieces that satisfy like a wine you've been told is very expensive. The show has a few outliers though, namely Catherine Egan, whose trio for three women is heavier with ideas than with interesting movement, and Alexander Dones, whose Francophilic one-man show is appropriately droll.
- Emily Schultz, Fallor, ergo sum: two women on a Spanish plaza; dark eyes, black gowns, high slits; romantic and striking; too short.
- Catherine Egan, Split Sequence: side braids and yoga faces; tapping Morse code in palms; disappointing false endings.
- Katie Sherman, We, Then I â¦: capstone dance piece for nine women; character acting with a hint of ballet; too big for the small stage.
- Alexander Dones (aka radical child), jâai la tÃªte dans le cul: Whereâs Waldo outfit; French spoken word; breakdancing and lip syncing.
- Janique L. Robillard and Sydney Skov, dance film preview Move for Freedom: advocacy for human trafficking victims, dancing in Portland streets, public service announcement.