Review- Danceworks’ film frolic.

We should have known.
Get the Danceworks crew thinking about movies, and of course they find a way to gleefully combine Jason from Friday the 13th with Rogers and Hammerstein.
“Lights, DPC…, ACTION!” was a definite departure from recent Danceworks productions, featuring new work from 10 different choreographers, all inspired by a particular film genre (or often, a particular film).
It’s should surprise no one that camp was a common thread through the 90-minute program. Melissa Anderson’s Busby Berkley tribute, “Dames,” set the tone for much of the evening, combining precise ensemble work with tongue-in-cheek attitude. Kelly Anderson hit the same nerve with a swingin’-60s inspired tribute to spy thrillers, including mini-dressed moll-ettes who could out-Joey Ms. Heatherton herself (particularly Melissa Anderson, who matches her hair for hair). Christal Wagner offered some comic monkey-shines, and Diana LeMense created a little story ballet around a dinner where pasta and party dresses mingle with 50s Italian pop music.
But it wasn’t all fun and games. Liz Hildebrandt captured the raw energy of suspense/slasher movies with the trio “Bound. Struggle Release.” Kim Johnson-Rockafellow turned the vocabulary of martial arts movies into something lovely and structurally complex in “Fuyu Momiji.” And Holly Keskey, a recent addition to the company, turned the rigorous vocabulary of military drills into a grim meditation on war and machismo.
It was Kelly Anderson who earned the highest thumbs up with "Una Notte en Roma," a delicious duet that defined the sexy-cool of Italian romance to a tee—from the slyest of across-the-café glances to the most physical gropes and grinds. Anderson seems particularly interesting in the conversational gestures deployed by Sophia Loren at her spitfire height, and she builds the dance piece-by-piece from that vocabulary.
Anderson’s duet wasn’t the most original piece on the program. That was Simon Eichinger’s "The Unraveling," a remarkable and disturbing solo that seemed to tax the limit of physical movement. Like an extreme Grotowski acting exercise, Eichinger wasn’t afraid to push himself physically and emotionally to create a chilling portrait of what seemed to be a fight to the death between mind and body. 
As for the Rodgers and Hammerstein climax, I’ll leave that as a surprise. Suffice to say that you may find all your cherished (and wildest) dreams about the Von Trapp Family realized.