High-caliber dance technique combined with imaginative, fun

choreography featuring some of the best dancers in Denver

In Brrr!esque, 12 magical dancers present an exceptional gift from the minds of Wonderbound choreographers Garrett Ammon and Sarah Tallman. The Brrr! in the title refers to the Cold War and focuses on the similarities between then and now.

That theme might seem a bit heavy for a holiday show, but it was just the opposite. The performance was insightful, respectful and hopeful. It provided an escape, while tackling important issues without taking itself too seriously. Most of this feat comes from the fresh, stylish, energetic choreography mixed with an eclectic music selection. Add the dancers, and it’s a perfect winter cocktail.

Patrons are warmly welcomed into a warehouse space that has been transformed into a lobby and theatre. There are complimentary drinks and light snacks. Seating is general, and the performance space is well defined by a professional dance floor, curtains, sufficient mood-setting lighting and a large screen for video. The company is using this temporary space while building its permanent home close by. There are drawings on display showing the vast new space, which will also operate as its studio and is targeted to open in March 2023.

The performance explodes with the energetic company’s opening to Chuck Berry’s “Back in the U.S.A.” in which the dancers’ incredible technique is immediately apparent. One number flows seamlessly into the next. “The Candy Man” is frivolous and joyful, featuring a dancer superbly making fun of himself, with four pink-clad women accenting the frivolity.

“Whatever Lola Wants” is choreographed more smartly than in a performance of Damn Yankees, here to a great Sarah Vaughan vocal.

Morgan Sicklick and Damien Patterson tug at our hearts with a pas de deux to Jimmy Durante’s “I’ll See You in My Dreams”, followed by a slick bartender solo by Aidan O’Leary (at this performance) to “Atomic Cocktail,” with nuclear war images on the video screen.

Richard Romero gives new meaning to “Back Door Santa” as a balletic Chippendale Santa, working up hoots and hollers from the audience.

“Fallout Shelter,” recorded by Mike and Bernie Winters and released in 1962, provided a time-capsule gem with fascinating accompanying screen visuals of atomic drills, complemented by the stylishness of the dancers.

The entire company brings us full circle with a rousing, energetic finale to The Beatles’ “Back in the USSR.”

Many moods and history are covered in an hour of movement, and all the dancers shine. Their extensions, grace, multiple pirouettes and gravity-defying jumps and leaps are performed with personality and exquisite self-control. The gorgeous lines of the company’s athletic bodies take one’s breath away. Each individual dances from the soul and expresses the message of the dance perfectly to the music.

Every selected song carries the audience on a dramatic journey. The entire stage is used through precision movement, formations and floorwork. All 16 unique pieces on a bare stage represented an ingenious mix of contemporary, ballet, jazz and theatre dance styles, with plenty of entertaining, effortless and diverse lifts.

Sitting in the front row, no sound was heard as dancers gently landed from leaps, rolling through their feet into plie.

The costumes did not immerse us in the era but were rather nods to the times, such as the Russian “fur” hats and ’70s-cut dresses. Each outfit perfectly accented each dancer’s body and buoyed the mood of each piece.

It was a mesmerizing holiday treat to see this level of dance in Denver with choreography that gave a nod to Twyla Tharp. Garrett Ammon and Sarah Tallman have created a fresh breath of air in Brrr!esque that warms your heart. The run of Brrr!esque has ended, but I look forward to seeing what’s next from Wonderbound in the new year.