Each of us has a necessity for connection, interaction, and humanity in our lives. The extreme desperation for these attributes is what drives Susan Stroman’s Contact. This dance-focused musical is broken into three parts, and each part is a story of the struggle to connect. Other than a common theme, there is very little that actually ties the stories together, save a statue that makes an appearance in each piece. Each story stands well on its own, but they are never true united into one complete thought. When leaving the theatre it feels as if you’ve been at a dance concert that presented a variety of numbers, and shared only a common curtain call.

The first two parts of the show (“Swinging” and “Did You Move?”) are almost completely dance, with dialogue taking the back burner. This leaves the characters less developed than the full, vivid characters in the third piece. The third movement (“Contact”) is the masterpiece of the show. Developed and choreographed before the other pieces, “Contact” has a depth and richness that can’t be found in the opening pieces. We see a more complete picture of both situation and character filled-out with more comprehensive choreography. Though “Swinging” and “Did You Move?” are a treat to watch, they don’t contribute to the already complete theme of the third piece.

The first story has only three characters, and they are recreations of the characters in a painting by Jean-Honore Fragonard. A lady, an aristocrat, and a servant dance out this amusing triangle of sexual fantasy. With no dialogue and only a few vocals this piece depends solely on dance for its story. The story is light, entertaining, and has its share of eye-openers. The dance is executed with perfection as the intermingling of man-woman-and-swing create opportunities for Stroman to flaunt her imagination and cause gentler audience members to blush.

The second story, “Did You Move?”, drops us into an Italian restaurant with a remote husband and his wife. As he ignores and assails her, she drifts in and out of a dreamland. The choreography is a balletic-lyrical style with music that emulates The Nutcracker in its dreamy fashion. As the story moves on, the wife’s dreams move closer to surfacing, but even as her imagination takes her away from the suppression of her current life, she submits to her husband. With an act of humility she hands her husband the flower that moments earlier had played a romantic part in one of her daydreams. The flower represents this woman’s hopes and most personal thoughts, and she willingly hands it to her apathetic husband, who proceeds to crush the flower and throw it across the room. Stroman’s use of an object to express to the audience the wife's inability to connect with her husband solidifies the concept of movement speaking beyond words.

The third story is unquestionably the best in every way except possibly choreographic execution (where all three pieces tie for excellence). The story is inspired by “An Occurrence at Owl Creek Bridge,” but with a drastically altered ending. This modern take on the story hinges on an advertising executive who realizes that his life is empty. He reveals his desperation for connection when he admits that holding an award in his hands helps him feel fulfilled because he can physically touch something that confirms his life has meaning. He is desperate for contact. After a failed suicide attempt, he finds himself in a makeshift swing club where he meets the destiny of his future.

Alan Campbell in the part of the marketing executive does an excellent job selling his character. Although at times he seems out of place as he is juxtaposed with performers who present their characters through body movement, while he portrays his through more tradition acting. In the role of the girl in the yellow dress, who has become the icon of Contact, is Holly Cruikshank. Her past experience in the original cast of Fosse is evident after watching her sensuality of movement. From the way she sits and crosses her legs, to the movement of her hips as she traverses the dance floor, Cruikshank arouses attention with every detail of her body language.

The choreography in this third act references modern swing while still staying stylistically free enough to emit a variety of situational emotions. The partnering is strong, yet not restrictive. It isn’t like watching a swing competition with unchanging partners - the stage us fluid and the movement has a story in it. The bartender is a narrative character who introduces other characters, gives basic background, and occasionally motivates action. He plays an integral role in tying everything together. The role his character plays is one of the essential parts missing from “Swinging” and “Did You Move?”. Though the movement of dance can express emotion far better than language, there is still nothing better than dialogue to establish facts and settings. That is why “Contact” far surpassed its sister numbers in the show; it is a mix of movement and words that uses both aspects in their strongest arenas.

The show was conceived, directed, and choreographed by Susan Stroman, who has again proven her distinguished significance to the theatre world. Stroman effectively tells the story through choreography, rather than letting choreography support the story. In the tossing of hair and swinging of hips, her famed girl in the yellow dress communicates feelings and experiences that could never be established by words. Without ever uttering one line, we see her personality of playful manipulation, passion, and expression. Stroman’s use of elongated figures, particularly in “Did You Move?”, reflects the longing of the characters and brings emotional impact to her work. But her ability to effectively jump across styles is the most admirable characteristic of her choreography.

One quality that stays constant in all of Stroman’s choreography in Contact, is the overriding sex appeal. The show reinforces the concept that sexuality drives the majority of fulfilling interactions in humanity. This sexuality is seen in different forms across the three numbers, starting as a quirky game of fantasy in “Swinging”, moving to an almost innocent romantic concept for “Did You Move?”, and finally coming to a hot sensual passion in the stimulating finale piece. Stroman’s choreography, especially in “Contact”, rivals Fosse’s work for its captivating sexual insinuations.

Stroman radiates creative energy with her incorporate of sets and props throughout all three pieces. The obvious example is the use of the swing in “Swinging”, but because of her seamless choreography, many other examples of this integration go barely noticed. The wine bottle in “Swinging”, the tables in “Did You Move?”, and the pinball machine in the club in the third piece all are of great benefit to the overall effect of the choreography. Stroman doesn’t work around a set, she works with it and in it.

In the end, it must be said that the show reaches dance audiences more exclusively than it does general theatergoers. The use of movement as the narrator, rather than acting, is too abstract and intangible for some. Nonetheless, Contact establishes two very important points – that dance can be incorporated within the plot for dramatic and thematic accomplishments, and that Susan Stroman is one of the strongest creative minds of her time. Years from now Susan Stroman’s name will be remembered with Gene Kelly and Bob Fosse for innovation, creativity, and choreographic skill. She has a timeless genius to her work will evoke the word “brilliant” years into the future.

Contact closed at the Buell on Oct 28

Visit the Buell theatre on-line at www.denvercenter.org

-- Tony Burnett