The Pavlatas certainly know how to throw a party. There was live music, courtesy of Okbari Middle-Eastern Dance Ensemble, who came down from Portland (ME) for this event; belly dance art on display and for sale by Elisabeth Clark; and lots of yummy savory and sweet snacks for nibbling, lovingly prepared at home by friends of Moody Street Circus,  Julia and Nicolas Paraschos. There were even risers for audience seating (which was full by the time the show began!). The evening’s events were captured on film by the lovely Najmat of Boston.

Elisabeth Clark and her beautiful art at Moody Street Circus. Photo by Najmat of Boston, courtesy of Melina.

Happy Anniversary Balloon at MSC with Elisabeth Clark Art. Photo by Najmat of Boston.

Of course, there was a show! Featuring solo and group performances by Daughters of Rhea dancers and students.

• Celia opened the program, all aglow in peach and gold, dancing to “Soode Soode” the way it should be danced – with great joie de vivre, and zills!
• Kebi, of the silken hair, wielded her silken veil with grace and aplomb to “Misirlou”.
• Daughters of Rhea Level 2 dancers performed Rhea’s Tambourine Routine to the percussive accompaniment of Okbari’s Eric LaPerna. Attired in coordinating gelabayas, they created a lovely vision both visually and acoustically.
• The elegant Jamila, in stunning teal and forest green, raqqed the classic “Aziza”, hitting all the accents like a pro (even the ending, when the band didn’t).
• Your editor danced to a juicy rendition of “Siseler”, gypsy-style.
• We saw the flowy cabaret side of the lovely Kaylin to another classic, “Zeina”.
• Sara Cabral smouldered to a smoky version of “Uskadar”. Dreamy and evocative, she has the rare talent of being able to turn inward when she performs,  yet remaining fully present to her audience.

Daughters of Rhea Tambourine Team (pictured: Ann, Yelena, Melina, Arlene, Lena). Photo by Najmat of Boston.

Our hostess, Melina, wearing a stunning glittery teal and chocolate costume, concluded the program with a lively 4-part set. Melina exemplifies the Daughters of Rhea philosophy of creativity and joy in the dance…and circus! She had some tricks under her hip belt. As Okbari played some pretty violin and oud taqsims, we were treated to some lovely floor work and then… the ever-heartstopping (for this writer, at least) balancing on water glasses! Melina brought out three real glasses, not fake, and proceeded to step up on them, balance, and then move around the floor on them! I always trust that Melina will do this perfectly each time I see it, yet it’s still a bit nerve-wracking!

Melina on water glasses. Photo by Najmat of Boston.

Then, just when you thought there wasn’t any more seat edge for you to perch on, Melina picked up her sword…and dagger. Melina has been balancing things on her head since childhood – trays, swords, and so on. I do believe, however, that she is the first dancer to balance a sword on a dagger held in her teeth! If you have never seen this, put it on your “must see” list.

Okbari outdid themselves that evening. The music was terrific – bright, lively, and a joy to dance to. Keep an eye on this ensemble – as I’ve said before in this column, they are on their way to “legend” status.

Lastly – but certainly not least the evening also included the grand opening of Koukla Dance Boutique. Located conveniently across the hall from Moody St. Circus, this is Boston’s only belly dance store. While the band played folk music for open dancing, belly dancers and other hard-core shoppers browsed happily amongst Koukla’s racks and shelves. Owned and operated by Greek folk and belly dancer Panayiota Bakis, the store carries a full line of Sharifwear, as well as other treasures that Panayiota picks up in her travels. No Web site yet – watch BDNE and Moody Street Circus for further details.

Okbari at Moody Street Circus. Photo by Najmat of Boston.

To learn more about Moody Street Circus and its classes and events, be sure to visit their Web site. You can also listen to an interview with Melina on Belly Dance New England podcast #2, in which she talks about her vision for Moody Street Circus. - submitted by Amy Smith

The concert on Saturday, January 7 at Blue was incredible. The power trio of Okbari and Mal Barsamian sounded like they had all been playing together for years, when in fact they had fairly limited rehearsal time. The concert included everything from Turkish Ottoman classical music to folk tunes. After the show, and a brief break, the trio re-convened for an honest-to-goodness kef in which they played Turkish and Armenian folk and dance tunes, many of which are more familiar to belly dancers. In fact, two dancers performed during that set, clearly thrilled to have such a stellar band to which to perform. The kef-like feel was enhanced by the impromptu line-dancing by some of the audience (members of a local international folk dance group, as it turns out). It was like being transported back to the golden age of New England Middle-Eastern music and dance, when live music was the norm and you could catch a great show any night of the week. Perhaps the most enjoyable part of the evening was watching the musicians themselves having a great time. Because when they are having fun, magic happens.

I hope that Amos, Eric, and Mal have plans to do this again, very soon. In the meantime, you can (and should!) get acquainted with Okbari and Mal individually:

• Visit Okbari’s web site here. They are also on Facebook. They have several CDs available for your listening and dancing pleasure. If you don’t already know of them, please get yourself to one of their shows at your earliest opportunity. They are fast on their way to legend status.

• Mal Barsamian does not have a Web site, but he is on Facebook as well. Mal produced the classic Mystical Veil CD, on which many belly dancers of a certain age cut their teeth, as well as a couple of other CDs featuring Armenian music.

The narrator, played by Angelo Scott D’Amoto, tied each tale together, setting the scene for the act that was about to take place. I loved D’Amoto’s voice – there was a very James Earl Jones quality to his narration. In the opening scene we meet Mary, a young woman from Nazareth, played by the glowing Cecilia Villero. Cecila was outstanding in this role! She and her mother Anne (played by the lovely Najmat, who was a last-minute replacement for the injured Amira Jamal) danced to celebrate Mary’s recent engagement to Joseph. I could feel the love Cecilia and Najmat have for each other from the audience; it made the scene of Mary and Anne so much more real.

Next, we met the Angel Gabriel played by Badriya Al-Badi’a. She entered the stage wearing a gorgeous chocolate brown and gold galabeya dress, with sparkling gold wings that took my breath away. I’m not sure if it was her perfect technique with the Isis wings, or her piercing blue eyes….but I was sold! I also loved that the music included a voiceover from Badriya herself!

The Angel Gabriel (Regina Harrison) appears to Mary (Cecilia Villero). Photograph by Najmat, courtesy of Ahlam Selene Productions.

Next we meet Joseph (played by Alaric Hartmann) while he and Mary travel to Bethlehem late in her pregnancy. The horse (played by Nepenthe Aham and Jemileh Nour) was *hysterical* – a great touch of comic relief! In Bethlehem, Mary and Joseph happen upon a group of eager merchants played by Alizah Afet and Anahit Karyan. The two share a scene where they fight for Mary’s attention, and try to get her to purchase their lovely wares. The duel involved hip checking, veil strangling, and all around well-acted, well-danced competition. By now it was clear that this cast was not just a group of dancers, but a group of actors heavily invested in the production. Their dedication translated warmly to the audience! One of the highlights of the scene for me was the pushy, yet incredibly talented tea seller played by Aurel. Her tray balancing was stunning and her acting was the icing on the cake! Oh, I must also mention the Innkeeper, played by Heather Emerson, could not have been more perfect. No one stepped into character as well as Miss Emerson! I couldn’t stop chuckling at her “angry” demeanor.

During the intermission I was pleased to hear so many people in the audience saying “Wow that was some great dancing!” or “I never knew bellydance could translate like this!”. I was in complete agreement. I was not just loving the show, but wishing for a second-run so I could have brought friends and family to see it!
The scene of the North Star (a beacon of light announcing Jesus’ birth) opened the second act, and I was pleased to see it was portrayed by Seyyide Sultan in a lovely blue and silver sparkly dress with a shamadan full of Christmas lights adorning her head. My only complaint is I wish she had smiled more! The wise “men” arrived on scene next played by Qamar, Maya Selene, and Alizah Afet bringing their gifts to the newborn King. The trio looked amazing (Maya Selene was wearing a sari that was to die for!) and I really enjoyed their folkloric dance of celebration.

The shepherds (Jemileh Nour and Nepenthe Ahlam) watching their flocks by night. Photograph by Najmat, courtesy of Ahlam Selene Productions.

By far one of the best parts of the pageant was the shepherds (Jemileh Nour and Nepenthe Ahlam) herding their “sheep” (played by Johanna Bunn and Tricia Hopkins). The sheep were michevious and adorable, and the shepherds’ cane dance was in-sync and quite clever! During the herding of the sheep, Angel Gabriel appeared again to tell everyone of Jesus’ birth and the peace that will come to the world. Celebration ensues and the Little Drummer Boy (Johara) is introduced. I had no idea Johara played the doumbek, and loved the scene where she plays for the new King! The story ends with the whole town celebrating the baby Jesus with drum playing and dancing.
Overall I have to give this event an A. Not only was there a stellar cast of dancers and drummers, perfect props, and music choices, but the best part was all proceeds from the show went to charity! Cradles to Crayons is a wonderful organization with the mission of providing to children ages 0 to 12 some of the most important basics of life free of charge. These basics include clothing, school supplies, toys, and much more – all the physical goods that children need to be safe, protected from the elements, and ready to learn.
I look forward to next year’s Raks Nativity and hope the Ahlam Selene Dance Company plans to have multiple runs so more folks can enjoy this wonderful show! - reviewed by Samantha Selig

On Sunday the 26th, Meiver presented us with the MassRaqs Gala, a high energy – and very sparkly – finish to a weekend of workshops and show. The roster alone made me excited to attend: Bozenka, Meiver, Najmat, and more!  But it wasn’t just the lineup that impressed me.

My first impression of the event was the professionalism. As a wannabe graphic designer, I love a strong presentation, right down to the marketing. The website is informative and beautifully done, the fliers well-designed, and the programs were of a high-quality design and print. Perhaps others wouldn’t take notice of that, but I really appreciate when a production is so expertly thought-out. It’s the icing on the cake, in my mind.

Walking in to Springstep, I was welcomed by vibrant colors and shimmering costuming, provided by the three vendors. I ended up buying a beautiful beaded bra and belt set from Margaret Slocombe (anyone else have as much difficulty keeping away from her treasures?); fell in love with some hand-dyed veils from Fairy Cove Silk (I couldn’t stop twirling with them…gorgeous!), and artwork by Elisabeth Clark, who really understands how to artistically render a dancer’s movement and heart. I already have a few of her pieces and intend on buying some more.

Chantal performs a raqs al assaya at the MassRaqs Gala. Photograph by Dreamer's Realm Photography, courtesy of Meiver.

The dancing began with Chantal’s raqs al assaya in a gorgeous blue costume and big personality, followed by Mirza Dance Ensemble’s Levantine folkloric piece and Bedouin dabke. I loved their ethnic costuming, and the live drum added so much depth as they moved across the space as a unit with heavy steps and little shimmies.

The band then came on and simply blew me away within a heartbeat. Tarek Abd el Hai has an incredible voice and presentation, while the talented musicians Ghassan el Hashim (keyboard), John Nejm (katam), and Larry Bejjani (tabla) were the perfect accompaniment. The music was energetic, soulful, and dynamic…very hard to keep myself from dancing in my seat.

The dancers that performed with the band each were fantastic; Nina had the crowd going right off the bat and was so much fun to watch; Phaedra was a whirlwind of veil as she entered, and finished with an expertly crafted drum solo (I literally wrote, “Oh my, those hips!” in my notes); Najmat simply embodies the soul of the music; and Hanan had some amazing cane work, built up the drama, and played with some dramatic tempo changes.

Meiver, producer of MassRaqs. Photograph by Dreamer's Realm Photography, courtesy of Meiver.

Meiver and Bozenka were absolutely stunning. Awesome. Gorgeous. Jaw-dropping.  Meiver is smooth and graceful, like she is floating on air, and the music flows right through her, like the song was written just for her to dance to it. The crowd was lucky enough to see two Bozenka sets! The first was a fun, flirty number in a beautiful sparkly dress, literally kicking off her heels and dancing with a scarf around her hips. Bozenka glowed in her second set, making me tired just watching her expertly-controlled drum solo.

The fabulous Bozenka. Photography by Dreamer's Realm Photography, courtesy of Meiver.

I truly enjoyed the MassRaqs Gala.  If I could change anything, I think it would be to have better lighting, and perhaps more refreshments. Otherwise, there was little else that could be done to make it a better-run event. Amazing talent, great look and great sound, shop-a-holics’ paradise, and a beautiful venue. Congrats to Meiver for a wonderful event! – reviewed by Jaylee (Jesi LoBello). Email her at jayleedances@gmail.com

Our first act was opened by the lovely Zameena Asmar, whose twirls were out of this world. She stole the audience’s heart with her fast spins and zilling (her Shadia original was gorgeous, to boot!). Next up was Najmat, with her flowing black locks and GORGEOUS black/gold/emerald green Yasser. My favorite thing about Najmat is that she sings along with her music. Not only is she thrilled to be dancing – but she loves the song too! She was playful with the band and the audience, and was a clear favorite of the evening with her effortless shimmies and insane drum solo technique. Elena el Amar – the lady in red – graced us with her dazzling smile and delightful stage presence. Melina closed out the first act, tray of candles in hand (while wearing zills and a veil…she’s so talented!), and boy, did she WOW the audience. Her tray balancing act is always a favorite at restaurants and looking around the room, I realized many people were experiencing authentic belly dance for the first time. Seeing a girl to my left gasp and shut her eyes while Melina lowered the tray of burning candles onto her head was a moment I won’t soon forget.

During the intermission, I was able to hear more about the charity the event was for: The Bridge Center. This non-profit organization provides opportunities and support to families and children with disabilities to afford them healthy, happy, and productive lives. The folks representing the group were sweet and seemed to be having as much fun as the rest of the crowd. Looking around the room, I realized there was the creme de la creme of New England belly dancing enjoying the show (Shadia, Jemileh Nour, our very own Amy Smith!) – this was the event to see and be seen at! My only complaint was I had a front-row seat and the videographer was quite intrusive. Next year I think she should set up two cameras on either side of the stage so as not to block the view for anyone.

Mirza Dance Troupe performing a debke. Photograph by Dreamer's Realm Photography, courtesy of Ancient Art Studios.

Mirza Ensemble took the stage to open the second act and these ladies were FIERCE! This troupe is comprised of five woman from varying backgrounds who all dance with the precision of synchronized swimmers. I’ve seen them once before at MassRaqs and loved them – but tonight they just sparkled beyond words. Oh, and their adorable drummer was a great addition! Next up was the enchanting Ela Rogers, who did not disappoint. She chose to improvise to her music and it was clear that she not only knew her own body but she knew every intricacy of the song as well. Her poise and grace stole the show so much that the only notes I took during her piece were: “She looks like a gorgeous painting, coming to life!” Rounding out act two was one of my favorite performances of the night, Sabaya! (Belly Dance Sisters of the Sand). They began the show in lovely, colorful thobes (which doubled as 25-yard skirts in their swishing) and unveiled uber-sparkly bright-red pants suits underneath. These girls had a good old fashioned zill-off and it was HYSTERICAL! Not only were their skills a force to be reckoned with, but each dancer brought her personality to the act. I overheard someone say “They could be on So You Think You Can Dance?” and I have to agree. The formation changes, the precise zilling, the attitude – it all spelled out STAR!

Ancient Art Studios' troupe Sabaya in the "zill-off". Photo by Dreamers' Realm Photography, courtesy of Ancient Art Studios.

Hanan, with whom I had fallen in love during MassRaqs, opened the third and final act. She performed a killer double cane piece with a live tabla baladi drumming provided by Joe from Mirza Ensemble. Her drum solo was my favorite – Hanan possesses the ability to articulate precise hip movements and turn up the drama volume with her incredible hair tosses. The one and only Phaedra of Boston was up next – she shimmered and shone, swirling a silver lame veil. She was followed by Chantal, who sported a stylish, frilly short dress and sassy attitude.

Aurel D'Agostino, artistic director of Ancient Art Studio, raqs "Bitwannes Beek" in both dance and song. Photo by Dreamers' Realm Photography, courtesy of Ancient Art Studios.

Aurel – the night’s host and the founder of Helping Hips – closed the show. This was my first time seeing her perform and I was speechless. She looked stunning in a Shadia original costume designed to reflect the starry night. I was transported back to a 1920s movie! Aurel was dazzling with her perfect shimmies and then I heard the band play “Batwannis Beek” (one of my favs) and suddenly I heard a woman singing….(I looked behind me….then beside me….) – hold up, AUREL IS SINGING! I had no idea she was a vocalist, and was just blown away by this surprise ending!  Truly a class act!

I know some people balked at the price of admission ($45 before or $50 at the door), but the price of the ticket was certainly reflected in the quality of the dancing, the food, and the space (oh and ALL the proceeds are going to charity!). (Editors note: The event raised $4000 for the Bridge Center.) Helping Hips is an amazing group of ladies that put on the best show I’ve seen in a long time. I highly recommend attending this next year. Great dancing and a great cause – what more could you ask for? – reviewed by Samantha Selig. Visit Samantha’s blog at http://sparklyandslimming.wordpress.com/

I myself opened the show with a Blessing Dance, performing to Loreena McKennett’s “Prologue”. As the audience of about 60 smiled I knew this was going to be a fun show.  The next dancer, Zafina, drew us all immediately into her elegant yet fun dance to “El Fadi Yrgaalak” by Samira Said.

This was followed by the statuesque Basheera, who gracefully wielded full command of her veil to “Windows to the East” by Ron Goodwin. She was then joined on stage by the beautiful Nuneerah and they enthralled the audience with a rousing sword duet to “Soul Talk” by Intergalactic Caravan.  Nuneerah finished their duet rhythmically zilling along to “Wa’d” by Misr.

Sagira glided in with golden wings to the “Diva Dance” by Inva Mulla Tchako, from the film The Fifth Element, and then danced to “5 seasons Uzak” by Tarkan. She handled those wings like Isis herself.

Elena thrilled the audience with her impeccable shimmy technique and performance to “Technique Rhythm” from a compilation by Mohamed el Hosseny.

Finishing  up the first act was the vibrant troupe Daughters of Moonlight, with their precise performance to “Special Kae” by Djinn, and performing an original choreography by Anahita.

After a short intermission, Nayana demonstrated her skill and energy with a fun performance to “Kaklak Rahtak”, by Myriam Faris.

Next up, Saahira performed a flawless raqs assaya to “El Leilah” by Diaa, and ended with a fun tabla solo.

Daring something different, Anahita danced a hip-hop fusion belly dance to “Sacred Ground” by Jehan Kamal, amazing us with her style and performance.

Reminiscent of a time of Goddesses, Maya danced as one with her veil to “Anatolian Mood” by Eddie “the Sheik” Kochak.

Zariifa Belly Dance Troupe ended this magical journey with a high energy and sassy original choreography by Elena Griffin to “Khalli Yewalli” by Nelly Makdessy.

This wonderful show left the audience (and me!) in awe of these talented and beautiful women. I can’t wait till the Sultans Ball, March 5^th, 2011 at the Cape Codder Hotel.  Hope to see you there! – submitted by May el Amar

As the acronym suggests, PURE (Public Urban Ritual Experiment) was anything but dark and brooding. Lighting up the stage with their sky-colored clothing, blithe spirits, and gorgeous formations, the feeling one got when watching was that they were dancing for each other, with no thought of the audience. The  jubilant song stylings of music ensemble Davuli perfectly accompanied the dancers.  As they left the stage, they each took a turn bowing to the band, really rounding out the “village dance”  feeling. They dispersed, rather elegantly making way for the mesmerizingly earthy Ela Rogers. Her movements were so fluid, her dance so passionately grounded, and her familiarity with her body so acute, I actually couldn’t look away (really, I tried and I couldn’t).  Baseema emerged gracefully from the trail of smoke left in Ela’s wake . Due to the not-with-it-ness of the two MCs, this lady was one act early, which must have been nerve-wracking. Still, she handled the unprofessional faux-pas with alacrity and style, her swords gleaming with every pretty trick she played. The lighting was a little too harsh during her performance, but her stunning skill counter-balanced it nicely (no pun intended).

Cecile Carr and Shirronda Almeida of Ombellyco. Photo by Peter Paradise, courtesy of Ombellyco.

Speaking of lighting…as Baseema gracefully sauntered off, the stage shape-shifted into a blood-red shrine. The warrior-priestess like energy of Vadalna blazed across the stage in a sharp choreography, uniting in a fiery prayer through dance. With the exception of a couple small moments, this group was fantastically in sync with one another. The temple faded and was replaced by the feeling of being in an old, musty attic. Neylan and Samarra made for a strange mother-daughter-like team, akin to watching a retired snake charmer who created a little gothic doll child. They were mildly charming and had great costumes, although during the first half of the act there were moments when the dance seemed a bit out of sync with the music. Jaylee LoBello  has often been described as “liquid”, and that is obviously the case.  As always, she was a lavishly sumptuous feast for the eyes, rocking a sort of vampire-harem princess look. With a superbly refined sense of musical timing, the lady dances like a dark river, running over fervent, complicated choreography, which flowed straight over the feet of the Ombellyco angels, as they floated onto the stage. Their connection and synchronization  was ethereal as they spun a gossamer web around Lisa Gerrard’s “The Host of Seraphim”, which is exactly how they seemed.  For their second number, “Palace Dancer” (accompaniment by Duvali), these angels fell to earth to remind us that they were human, resplendent with sensuality and glittering luminescence.

Donna Mejia. Photo by Peter Paradise, courtesy of Ombellyco.

The rocket-powered kickoff to Act Two was due to the flamenco stylings of Jamie Zahlaway Belsito, a spicy diva with unequivocal poise and fiercely powerful movements. The other half of this duo, Antonio “Tiriti” Tran, was, in a word, sublime. His music was light falling onto water, perfectly complimenting Jamie’s dance. Barushka and Lauren of The Bleeding Hearts Duo had a sort of elegant, vintage appeal. Barushka had an oddly languorous-yet-cultivated peculiarity to the execution of her movements, compared with Lauren’s much juicier vein. Donna Mejia…wow.  Her deliberate perfection had the mien of a female knight paladin who vanquished a villainous foe…a knight paladin who is smoking hot, that is. As for the gypsy rose that is Melina…I was completely enthralled. I could barely take my eyes off of her long enough to critique her.  She moved with the bewitching speed of a whirling dervish, all glimmering faerie rags and flaming hair. Simply captivating.

Megha Gavin and Carolena Nerriccio. Photo by Aria Beth Michaels, courtesy of Ombellyco.

As befits the star(s) of the evening, Carolena Nerriccio, the supreme mother of ATS, and her counter-bot, Megha, were the last to grace the stage. The energy of their dance was all airy brightness, sweet and fresh. Carolena’s control of her stomach muscles borders on the ridiculous, and she has the exquisite bearing of a queen.  Megha has the radiance of a newly-minted copper penny, and her hip work was luscious.  However, while their respective choreography was practically perfect in every way, and the dancers themselves were wonderfully charismatic, they weren’t nearly as compelling as some of the other performances.

Well, Debbie S. you are wrong and I’m not crazy. Lilith most definitely exists. She appeared on stage earlier this month in Salem aglow with sensuality and fierce with reality, courtesy of Aepril Schaile and the Exquisite Corpse Dance Theater. Commissioned by the Salem Theater Company to bring The Book of Lilith to the stage, Aepril lived and breathed Lilith this past summer, and the result was an extraordinary, powerful, and I would even say important production.

Lilith and the apple tree in "The Seduction of Eve". Lilith is played by Aepril Schaile. Photo by Liza Piper, courtesy of Aepril Schaile.

This was not a belly dance show. Yes, there were belly dancers in it. Yes, belly dance vocabulary was used. But the dance was there to support the story. The fact that the audience saw a myth come to life and unfold on the stage, not individual dancers strutting their stuff, speaks to the clarity of Schaile’s vision and the care and precision with which she crafted the script and choreography. The purpose of any art (in this case, dance) is to make you feel something, not just be pretty or decorative. In Lilith, dance is not meant to entertain. Instead, it evokes the primal and the hidden.

As with other dance theater productions, a narrator was used to set the mood, provide background, and move the story along its course. Laura Crook Waxdal was The Priestess who, speaking from the depths of a black cloak and hood, supplemented the story of Lilith unfolding on the stage with ancient Sumerian and Babylonian writing, Kabbalistic text, a Dante poem, and excerpts from Monique Wettig’s novel Les Guerilleres.

Lilith is really an archetype, and as such, she appears in several world mythologies as some variant of demon. While Schaile incorporated the Mesopotamian Lilith who appears in the Gilgamesh epic, and the Babylonian Lilith who is one of the sacred prostitutes of the goddess Ishtar, it is the Jewish Lilith, first wife of Adam, who took center stage in this production. This Lilith was an independent being, created separately from and equal to Adam. She refuses to submit to Adam, speaks the true name of God  and leaves him and the Garden of Eden. She becomes the Queen of Demons, seducing Eve, preying on men in the form of a succubus and on infants as a night hag, while sacrificing 100 of her own children every day.

"Sacred Prostitutes of the Temple", from the Book of Lilith. From left: Amelia Kurpeski, Aepril Schaile, and Libby Rowe. Photo by Liza Piper, courtesy of Aepril Schaile.

Lilith is never a caricature. While the myths and legends simply describe Lilith as a demon, Schaile adds some dimension and depth to the character. When Lilith comes in the night to a child’s cradle, she holds the infant tenderly before killing it, perhaps remembering the daily sacrifice of her own children. In her exile, Lilith is both frightening, and a bit frightened.

"The Baby Killers". From left: Amelia Kurpeski, Libby Rowe. Photo by Liza Piper, courtesy of Aepril Schaile.

While it would have been easy to be overshadowed by such a character, the rest of the cast (Amelia Kurpeski, Libby Rowe, Shaina Rae, and Samara Martin) not only held their own, but indeed, left some memorable impressions on this reviewer.  The image of all four crawling Gollum-like, demon servants of the demon Queen, is not something easily forgotten. Nor is Samara Martin’s succubus, who was simultaneously predatory and playful, almost flirtatious. Shaina Rae takes the character of Eve from a naive innocent to self-awareness.

The fledgling Salem Theatre Company stage is a black box theater, currently, and the story was played out in a fairly small space. It worked well for this production, but the Book of Lilith would be equally effective on a larger stage. It is our hope that Exquisite Corpse Productions doesn’t let the story of Lilith end here; there are several North Shore community theaters (Newburyport’s Firehouse Center for the Arts comes to mind) that might be very receptive to such a production.

And if the Book of Lilith has another run, Debbie S., I’ll buy your tickets myself. - reviewed by Amy Smith

It all came together harmoniously and sometimes hilariously on one stage as Troupe Moirae – an area tribal group known for their innovative performances and productions – hosted their second annual Improper Spectacle.

This year’s show featured new and returning performers, with a range of performances from the sweetly romantic – with a sensual duet by Naomi Altman and Quang Phoe – to the cleverly hilarious, as Illiana of Central Mass. bravely fused belly dance with Blue Man Group, complete with foam rubber head and eerie, unblinking eyes.

There were a lot of show-stoppers, including Jaylee’s funky, rapid-reflex gamut of popular music, thanks to a peculiar boombox with which she had to make do — allegedly for not getting her music to the organizers on time.

For pure drama, it would be hard to top Aria Michaels’ snaky improvisation done blindfolded, creating a sense of a dancer moving through time and space without without fear.

Troupe Moirae was also gleefully in on the act, opening with a wonderful Andrews Sisters tribute that showed to great effect their playfulness, precision, and dedication in working and dancing together.

A special shout out for ingenuity and overall coolness goes to Tanya, from New Jersey, who rocked the house with a daring Guedra – the Moroccan trance dance that is well-known, but not always done accurately – with precision, rather than abandon, and to a most unusual choice of music – a mix of goth and metal.

What makes a genre-bending show like “Improper Spectacle” work is the deliberateness of the performers and the selectiveness of the shows that are included. It’s not just about swapping out a bedleh for funky black boots or a striped bodice, but well-executed choices of gear, music, and movement. All the acts had these qualities, making for an innovative presentation as much a showcase of time-honored technique as well as a celebration of belly dance without barriers. – reviewed by Morgana (www.poet-in-motion.net/morgana)

The program was a nice mix of folkloric, Arabic pop, and classical Oriental dance. Meiver’s repertory students performed khaleegi and raqs assaya dances, as well as a beautiful veil fan dance.  The group choreographies were interesting and well-staged overall. Even the beginning students performed a group dance, and performed it well, owing no doubt to the “skill-appropriate” level of the choreography.

Meiver and repertory students performing a fan veil dance. Photograph by Heather Emerson, courtesy of Dreamer's Realm Photography.

Nina Torres performed a lovely fusion piece that combined ballet and Middle-Eastern dance. She was accompanied by vocalist Sandra Ferreira, who sang an operatic piece. Badriya al-Badi’a danced a traditional meleya leff to a somewhat untraditional song. Oh, Oh Balaha is Balaha’s version of the Muppets’ Mena-mena song. Jewels performed a sassy Spanish fusion piece with flirty skirt work.

Cecilia, Seyyide, Katie Bircher, Shakima Laila – and of course Meiver – all performed traditional raqs sharqi numbers, but they were by no means similar. Each dancer infused her piece with her own unique style and delivery, which is really what our art is about.

There was a silent auction as well, with prizes ranging from massage therapy sessions to artwork to costuming. The final tally for the evening was over $1400 for MataHari.

Meiver, her students, and her guest performers are all to be congratulated on an excellent show. - reviewed by Amy Smith