Theatre in Review: Between Worlds (New World Stages New genre alert: Between Worlds is billed as a "flamenco fantasia." Siudy, the show's one-named star and choreographer, has teamed up with Pablo Croce -- who, according to the program notes, has directed more than 450 music videos -- to create a narrative dance piece, which, I suspect, they hope will do for flamenco what Michael Flatley and company have done for Irish dance. Before they start booking Radio City Music Hall, however, they may have to rethink a thing or two. Between Worlds posits a vision of the future, where, after some kind of climatic disaster, rain has stopped falling and the remaining members of humanity live in isolated tribes, fighting for fast-disappearing water resources. Not entirely plausibly, there's a Flamenco tribe, led by none other than Siudy. There's also an Urban tribe - their movements are more influenced by hip-hop -- led by a hulk named Dowsing. Siudy and Dowsing conceive a forbidden attraction - and you know how well that will go. There are battles, betrayals, and imprisonments, and everyone looks very, very upset. I have to confess, by the way, that I picked up none of these narrative details from watching Between Worlds; it all comes from the program, which offers a synopsis of each scene. For example, the last scene of the first act is described thusly: "Rapture: Because of her love for Dowsing, Siudy leaves the Flamenco tribe in hopes of making peace." As it happens, Siudy is no Madeline Albright in the peace-making department, and there's plenty of sturm und drang before it finally rains and everyone joins up in a kind of chorus line of world unity. These are, of course, all laudable sentiments, but you have to wonder if those involved have found the right medium for their story. You can put up as many projections as you want depicting wasted landscapes and spewing smokestacks, but if they're fronted by sexily clad dancers, their outfits lined in sequins, flashing their eyes and teeth in hopes of a little extra applause, the seriousness of your message may get just a wee bit muddled. I'm no expert on dance, but the entire company struck me as both technically gifted and well drilled; it's also true that Siudy's final big marathon routine -- her eleven o'clock number, if you will -- brought the audience to its feet at the performance I attended. But why not simply play to one's strengths and present an evening of dance? Why is it necessary to gussy it up with science fiction nightmares and gritty visuals that directly contradict the slick, flashy nature of the entertainment? A great many designers were involved in Between Worlds, and, given the result, I have to assume that they were constrained by both budget and creative issues. Neil Patel's two-level set is an uncharacteristically drab affair, fronted by a giant chain link fence that breaks up into pieces and gets moved around a lot. Jan Hartley's projections depict environmental desolation in all its forms. Jeff Croiter and Grant Yeager's lighting seems oddly lacking in a strong point of view in the first half; after the intermission, they achieve some striking looks with strong color choices and the pronounced use of side light. Marcelo Anez's sound design is a blend of effects, recorded music, and live percussion; I refuse to believe that it was his idea to keep the decibel levels at such an ear-splitting height. There are four costume designers, which is another way of saying that you get a mélange of styles. It seems that everyone involved in Between Worlds is looking for a way to take a specific form of dance to another level of popularity. There may yet be a way to do it, but this bizarre hybrid of floor show and B-movie dramatics is not it. More flamenco and less fantasia would certainly be helpful. --David Barbour 
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