A woman enters the stage, feet rhythmically creating a double beat—ball, heel, ball, heel. She travels forward, goal driven, emotion laden. Her breath supports the group to follow in unison. Six dancers clad in white, tiered skirts soulfully touch, circle, support, interweave in mesmerizing formations. Triptych (2005) was the most enduring dance of the evening, representing the strongest thematic and choreographic arrangements. The choreography was sophisticated with carefully crafted partnering work and phrasing that utilized the space in interconnected circles and pathways. It captivated viewers and created a fascinated experience. The dancers (Genevieve Carson, Jamila Glass, Tess Hewlett, Drea Sobke, Tiffany Sweat, and Angel Tyson) performed with power and grace. Triptych was the first dance created by Director Kate Hutter on the company, and it clearly has stood the test of time.

Hewlett and Tyson then performed an engaging, quirky, spasmodic duet titled, From the Founders of Insecurity and Ego (2005) to the blaring, ratchet-like music of Aphex Twin. The style of this dance is in extreme contrast to the aforementioned piece. In From the Founders, body parts twitch and contort to the raucous din, then flow and bind into shapes to reveal strengths and weaknesses. These two women revealed a relationship, which, at first, portrayed an agitated, disinterested paradox, but then resolved into a viscerally connected, final moment of touch representing a symbiotic possibility.

Unravel (2012), a duet performed by Carson and Nicholas Heitzeberg revealed a dialogue between longtime friends who have come to love and trust each other. The movement revealed a give and take, a deep trust, and a willingness to be vulnerable. Dancers catch each other in moments that are near misses, and they take each other’s weight with sublime ease in order to transport each other through space without harm.

These three dances were apt representations of the distinct blend of LACDC’s modern and contemporary sophistication, and the post-postmodern energy and athleticism of Los Angeles dance theatre. The evening was uneven, however, and three of the six dances presented as a retrospective of the company’s ten-year history were less realized.

(adjective) (noun) (verb)! (2006) provided humor with juxtapositions of characters, yet the crafting of the style of the work seemed to falter from scene to scene so that the relationships between the scenes did not portray a unified concept. Some characters delighted. For example, with sardonic and sarcastic gesticulations, Kim Thompson portrayed a wily pirate that excited amusement and curiosity. Big Skirt Woman Dance (2007) was strong, but not as captivating as Triptych, which shared some styling of movement and basic costume themes. Blank, the newest work in this concert (2013), was an exceptionally fine way to end the LACDC’s tenth anniversary celebration. It explicitly celebrated the dancers who are the medium of these works. All sixteen dancers in the company performed together featuring eight of the dancers’ personal stories in movement and dialogue. The core eight were Carson, Glass, Heitzeberg, Hewlett, Marcello de sa Martins, Andrew Pearson, JM Rodriguez, and Sobke, with Kate Andrews, Christian Beasley, Marisa Jimenez, Gakenia Luigai, Sydney Sorenson, Sweat, Kim Thompson, and Tyson as the ensemble. The inspiration for this work came from Hutter’s own concerns about being limited in her artistic work, being a white girl from Nevada, which seemingly, is  “…not very interesting.” Each core dancer revealed his or her parallel concern in recorded monologues as the soloist and company performed movement structures related to each. While the piece was a dancers' dance, and it provided sentimentality about personal identity, it was too long and the choreography not as cohesive as some of the other works.

Sixteen dancers and a director are the creative force of this company, each interesting in his or her own way and necessary to complete the magical puzzle that is the LACDC. LACDC is a successful dance company in a city that has been described as ill-suited to understand or support dance as art. LACDC has turned the tide by flourishing for a decade, and the company plans to continue moving forward.

A short film titled Phrase opened the evening. While visually stunning, it seemed like more of an explanation rather than a celebration of the work of LACDC and director Hutter. The content seemed not to add to the concert, but simply invited a lukewarm start. It might have been more suited to a pre-show introduction in the lobby or a post-show experience, inviting discussion about the future plans of the company, as Carson begins to prepare to take on directorship of the company. Overall, the concert represented both a celebration of a decade of success as a dance company in Los Angeles (no simple feat), and a rite of passage as the company fulfills its own succession plan to change directorship every ten years.