Be the Groove

The ceiling is cavernously high at the otherwise tiny Fasseas White Box theater of the Drucker Center, but the roof proverbially dislodged over the weekend anyway, whirling away like the house in "The Wizard of Oz," thanks to the juggernaut energy of Be the Groove.

This young, interdisciplinary troupe, who blend drumming poetry slams and dance, is a great tonic for seasonal chills. They're modest in size, with less than a dozen performers, but they pack a powerful punch, more so in the tight confines of the Fasseas than a week earlier as part of the "Global Rhythms" assembly at the Harris Theater. The Harris is a bit too big for the group's current repertory, which played off the intimacy of the smaller Fasseas like thunderclaps in a bottle.

The ceiling is cavernously high at the otherwise tiny Fasseas White Box theater of the Drucker Center, but the roof proverbially dislodged over the weekend anyway, whirling away like the house in "The Wizard of Oz," thanks to the juggernaut energy of Be the Groove.

This young, interdisciplinary troupe, who blend drumming poetry slams and dance, is a great tonic for seasonal chills. They're modest in size, with less than a dozen performers, but they pack a powerful punch, more so in the tight confines of the Fasseas than a week earlier as part of the "Global Rhythms" assembly at the Harris Theater. The Harris is a bit too big for the group's current repertory, which played off the intimacy of the smaller Fasseas like thunderclaps in a bottle.

They rap, pound trash cans, clap and croon--in "Speak the Fear," they offer a hip hop tone poem that deftly incorporates dating, identity, job interviews and the after-life. They're loud, pounding and incessant, but finely detailed, too. The intricate way they pound on stools set precariously on top of each other in one number includes graceful shoulder shifts and pinpoint body details. Listen to the noise--or relish the choreographic niceties. Similarly, the wooden sounds of drumming to broomsticks in "Pole Talk" are enhanced by shrewd choreography in the way the performers hold and move the stools---light, seductive motifs include one series in which they gently slant the implements, one at a time, in a brief but fetching cascade.

That holds true for the relatively few bits of pure dance, which include artistic director Stephanie Paul's tangy trio, wherein she and two other women use an odd thumb-and-forefinger circle as icon to launch wriggles, quirks, silky pop moves and solid modern dance. Paul herself, by the way, is a beautiful, enticing soloist, limber and spicy, with hints of Caribbean hues in her arsenal.

Ultimately, as with any "Stomp"-like endeavor, the energy goes nuclear, as it did Friday with the raucous, tribal hoedown called "Summoning" and the blast of a finale, "Pulse." They'll be back, hopefully at a somewhat larger space, but try, when you go, to stop yourself from jumping up and joining the fun. It won't be easy. - Chicago Tribune

“Creativity, stage presence, tremendous energy, and bravura chops, too.”

“The 10-member cast of Be the Groove’s Embrace the Fire combine rap, film, hip hop-influenced dance, and all manner of percussion–drumline licks to body slaps–to create a series of tightly choreographed pieces.” - Chicago Reader

“A percussive firestorm”
“Their bodily choreography…is as entertaining as their relentless rhythms.” - Chicago Tribune

“Heart pounding, toe taping and head bobbing was felt and lingered with us all after your STUPENDOUS performance! Your show embraced the kids through amazing techniques, wonderful humor, and incredible talent, resulting in pure entertainment. Your performances exude such energy and bravado, and you had everyone engaged and delighted!! The kids left with smiles on their faces and a bounce in their step.” - Avoca School Discrict 37