Bwog Staff Writer Grace Zhang attended the 6:30 performance of Orchesis on Friday, December 7.

On the evening of December 7th, Orchesis lit up the stage of Roone with their fall showcase. Aptly titled OrCARsis–as per their usual pun-related themes–the show paid homage to the spunky aesthetic of our favorite vehicles (behind the subway, of course) and the Cars movie. Yet I was also surprised by how only the interludes were directly related to the theme, while the rest of the pieces were a broader showcase of student choreography. Alternating between upbeat and slow numbers alike, the show brought us through an emotional roller coaster that transcended the medium of dance. 

As always, there was a short speech introducing Orchesis as a club built on inclusivity. It prides itself on casting everyone who auditions, making itself accessible to anyone who wishes to learn. Though one would think this lends itself to an amateurish performance at best, Orchesis completely subverts these expectations by firmly declaring yes, I will in fact cast hundreds of dancers, and I’ll do it well. 

Starting with their first number, “Cruisin’ For A Bruisin,” choreographed by Madeleine Rosenthal (BC ‘26) and Tal Bloom (BC ‘26), Orchesis brought the energy. With vibrant red, black, and white costumes that reminded me of the checkered theme of Formula 1, the dancers leaped across the stage. An impressive array of aerials left the audience roaring with applause. 

It was only fitting that the piece was immediately followed by a rousing, surreal performance of “Trustfall,” choreographed by Carina Wong (BC ‘25). One of the key choreographic elements was when the dancers swept their arms above their heads, creating a hypnotically wave-like motion when synchronized. Like many of the other songs, it began with shadowed silhouettes that gave a dramatic effect as the lighting shifted. One of my personal favorite parts was when a literal trust fall was performed–coupled with the moving music, it left chills.

Following Orchesis tradition, the interludes adopted a direct interpretation of the theme. With the clearly-Cars-inspired “Tokyo Drift,” “Highway To Hell”, “Vroom Vroom,” and “Gas Pedal,” it seems that fewer creative liberties were taken in the selection of these songs. Even the dancers’ choreography served as a reminder of the car theme: the act of steering a wheel and hair flips coincided with the sound of an engine revving, to name a few.

One of my most anticipated numbers was “Paper Planes,” so I was delightfully surprised when Orchesis veered away from the resounding pop of the original song. After a series of cyber glitches, the style changed entirely. The choreographed swing dancing by Sophia Roberts (BC ‘26) and Lucia Link (BC ‘26) brought a more charming rendition to the stage, with its slower, more fluid feel. Costumed in slacks or long floral skirts and blouses, the dancers skipped across the stage before breaking off into structured duos. The contrast from the original song by M.I.A–which would perhaps have been too violent to dance to, given its repetitive gunshot noises–allowed the dancers to embrace their swing dancing side.

A notable costuming feat was  “Dancin’ With Myself” choreographed by Esme Tomaszewski (CC ‘26). The fluorescent neon headbands and arm warmers were reminiscent of 80s fashion, and I particularly enjoyed the slow movement of colored lights that added a more glitzy side to the show. 

In the finale of the show, all of the dancers appeared on stage. It was then that I realized just how dedicated Orchesis is to their mission of accessibility: every single nook and cranny of the stage seemed to be occupied by dancers lined up in four to five rows. The show celebrated all dancers who yearn to let out their inner ballerina. At the same time, having such a varied program allowed us audience members to enjoy every moment of it.

Red Dancer and Car via Simone Snow