Featured Image: Senior theater major Duncan Hollis and junior dance education major Hannah Newman perform “Sugar Plum Pas de Deux: Beebe Variation” on Thursday, Nov. 20, at LYFT OFF presented by the UTM Dance Ensemble. | (Pacer Photo / Madison Perryman)

On Nov. 20 and 21, the University of Tennessee at Martin’s Department of Visual and Theatre Arts held its winter spectacular, “Lyft Off.”

Under the direction of new assistant professor of dance J.C. Burnett-Gordon, the performance consisted of nine routines, with a 10-minute intermission after the first five.

The first performance, “It’s TIME!”, served as a quaint introduction to the show. The backing song, Kiss Kiss by Parov Stelar, gave it a peppy and upbeat feel. It got the audience invested in what they were about to see and introduced several performers who would reappear throughout the show.

The second showcase, “Let’s Jam,” featured the classic song Space Jam by the Quad City DJs, performed by UT Martin’s Pom Squad Dance Team. From the ruffles of their pom-poms to their synchronized movements, every step was executed as a unit. It was uniform, and every motion was purposeful, as seen throughout the production.

The third performance, “Light in Her Eyes,” was led by the UT Martin Winter Guard in an up-close display of dexterity. They tossed flags and mock rifles with delicate yet decisive motions without missing a beat. It was a short but powerful performance that showcased the ability of UT Martin’s homegrown winter guard.

The fourth performance, “The Parting of Friendship,” was much more low-key than the rest. It was quiet and calming, telling a story of friendship, distance and forgiveness. With only two performers dancing to The Parting Glass by boygenius and The Ye Vagabonds, the piece tells the tale of two friends who begin close but grow distant as the routine progresses. It ends on a heartwarming note, with the two friends forgiving each other, embracing and running offstage in opposite directions.

The fifth display, “In Memoriam,” featured performers holding candles as they crossed the stage. The music was Coppélia: Prayer – Act II, Tableau 3, No. 3 by Léo Delibes and the Santec Music Orchestra, with choreography by Hannah Newman. The performers moved in large circular patterns while remaining spatially aware of one another. The segment ended with the dancers placing their candles at the center of the stage, holding hands and skipping offstage to begin intermission.

The sixth and seventh performances were short duets. The sixth, “The Weight Between,” was a dance for survival. Backed by Brother by Matt Corby, the two performers attempted to keep each other standing after being pushed down by an unseen force. The choreography was created by its performers, Alyssa Dearman-Shankel and Lisa Cleaves. The passion of the performance was felt across the audience.

The seventh performance, “A Night in the Workshop,” was the most lighthearted of the night. The music was a trap remix of Dance of the Sugar Plum Fairy and included humorous moments, such as one performer hitting the viral “woah” dance move mid-routine. It was a quirky, Nutcracker-themed dance that kept the audience entertained.

The eighth performance, “Sugar Plum Pas de Deux: Beebe Variation,” drew the most interaction from the crowd. With impressive displays of agility by Duncan Hollis and Hannah Newman, the dance felt like a performance between two soulmates holding onto each other. The contrast between Hollis’ heavy, grounded movements and Newman’s elegant, gentle style created a dynamic of interdependence. The dancers relied on each other throughout, especially during lifts that left the audience applauding at several points.

The ninth and final performance, “Candles of Celebration,” featured six dancers, each with individual solo segments. The routine included music from artists such as Rihanna, Nicki Minaj, Seal and Frank Sinatra. Each dancer showcased their talents both individually and as part of a group, making it a fitting conclusion to the production.

Overall, “Lyft Off” was an engaging experience from beginning to end. Not a single dance failed to hold the audience’s attention. It also marked a strong close to Burnett-Gordon’s first semester as a dance instructor at UT Martin. The production was a success for the entire ensemble and hopefully becomes a tradition the department continues in future fall semesters.