0 CommentsA flood of sentimental ballads, empowering messages, and high-energy dances earned this Orchesis shower its May flowers. Internal Editor Manaia Taula-Lieras and Staff Writer Madelyn Avery recount their favorite moments.
Columbia’s largest student-run dance group brought us through a whirlwind of emotions in the first showing of their Spring 2026 performance, “When it Rains it Pourschesis.” This weather-themed twist on the semesterly tradition held two showings on Friday, April 24, electrifying Roone Arledge Auditorium with student creativity and dancers with all levels of experience. The opening number of “Don’t Stop the Music,” choreographed by Isabel McFarland (BC ‘26) and Suzanne Ye (BC ‘26), allowed everyone to have their moment, exciting the audience with large group synchronization and setting the tone for an unforgettable showcase. Through 15 songs, brought together by four weather-themed interludes, the dancers and choreographers’ range of skillsets were exhibited as they flowed through the performance—it truly was a downpour of talent.
Choreographed by Adara Allen (BC ‘26) and Eirik Peterson (CC ‘26), the lovely floor work of “Seven” transported me into their universe with peachy lighting and the eponymous song by Taylor Swift. According to one of the dancers, the number was inspired by “growing up and losing your childhood friends, but still being able to reminisce on the good times. It ends on a hopeful note, as there are always people that you can rely on.” Overall, the performance tenderly captured this relatable and moving dynamic, and the piece ended with two silhouetted dancers embracing each other, emphasizing the sweet nostalgia of the performance.
Another standout piece was the exuberant medley of “Lady Gagorchesis.” Choreographed by Alillia Bowden (CC ‘26) and Charlotte Ries (BC ‘26), this Lady Gaga mashup used playful formations and color to wow the crowd. Trusting one another to move between strict lines and fluid arrangements, the group was outstandingly team-focused in this performance. During “Born This Way,” I couldn’t help but cheer enthusiastically at the rainbow backlighting that illuminated the large group of dancers. Though not technically a weather-themed performance, their radiant smiles and energy shone through like the sun, and the rainbow detail made all our days brighter.
Utilizing a slower style of dance that employed a lot of floor work and steady rhythm, the performance set to “Alaska” by Maggie Rogers, choreographed by Ginevra Levin (BC ‘28), left me on the edge of my seat. At some points, the dancers seemed to merge into one another, creating a flowing assembly on stage. At other times, dancers appeared frozen in time, standing still as a contrast to the movements of the other performers. With a backlight that accentuated the group’s fascinating configurations, I was able to appreciate the silhouette of their movements altogether. The performance was topped off with an exciting lift that caused me to hold my breath, but as the song said, I was reminded to “breathe deep.”
Between the main performances, rainy themed interludes in which dancers embodied the elements grounded the audience in the performance’s theme. “Set Fire to the Rain” did this particularly well, imitating the erratic movement of a flame and displaying passionate anger and despair. “Thunderstruck” by ACDC emphasized the intensity to the range of Pourschesis’ theme, with its red flashing lights and booming choreography. Then, with the storm of the show in full swing, I was grateful for “Umbrella”, a choreographer interlude that highlighted the talent of the choreographers who made Orchesis possible, and allowed them to be showered with well deserved applause and cheers. My favorite interlude was “Purple Rain” by Prince, a beautiful performance that included all 95 seniors that were in Orchesis this semester. It must have been incredibly difficult to fit them all on the stage, let along highlight all of the seniors’ skills, yet senior choreographers Tal Bloom (BC ‘26) and Lucia Link (BC ‘26), pulled it off seamlessly, ensuring every eye in the audience was misty with a downpour forecasted long before the song was over. The theme transcended the interludes in many ways, but one of my favorites was the inclusion of multiple rainbows throughout the show via the lights and background, symbolizing hope and resilience after stormy times.
The moment that I heard the opening of “Right Round” by Flo Rida and Ke$ha, “you spin my head right round…,” I knew it was going to be a standout for me. The flashing lights hit perfectly with the beat, and the choreography by Nina Kulkarni (BC ‘27) leaned fully into the song’s energy, with dancers circling each other during the lively chorus. The tricks featured in this show were insane and increased the high, bright energy of the performance with every flip.
After intermission, “Disturbia” by Rihanna brought us back with a bang. Despite being such a large group, it felt like everyone had their moment to shine. Choreographed by Reese Yen (CC ’27), the piece relied heavily on expression, and it had me on the edge of my seat the entire time. In the tumultuous movement of all of the dancers, one dancer stood out. Engulfed in chaos, she simply stood there and breathed, which I found incredibly moving. This built up to her finally joining and once she did, the entire group’s energy surged powerfully, overall highlighting the tensions between oneself, one’s emotions, and the surrounding world.
“Choreomania” by Florence + the Machine choreographed by Breanna Ellison (CC ’26) felt like pure, unfiltered expression. With chanting and yelling, the piece gave off a wild and untamed impression. The group’s movement was grounded and at times felt almost feral, with sharp, forceful gestures contrasted with moments of flow and release. The removal of bandanas that the dancers were wearing marked a clear shift from restraint to freedom as the song progressed. It captured a feeling of unapologetic defiance and systemic rage in an incredibly empowering way.
“Hit the Road Jack,” set to the Ray Charles song and choreographed by Sophia Roberts (CC ’26) transported the entirety of Roone back in time. From the midi-length skirts and 1930s-inspired outfits to the classic swing choreography, I was hooked from the start. The back steps and forward kicks were sharp and energetic and captured the essence of the style perfectly. I genuinely felt the urge to put on a swing dress and jump into a rock step and shuffle myself!
Bringing a close to When it Rains it Pourschesis, the finale ended the show in a perfectly fitting way with “Rain on Me” by Lady Gaga, choreographed by Orchesis Board. Including the entirety of the spring 2026 Orchesis cast, the finale showcased every performer and gave us one last chance to savor the final squalls of this outstanding show. Although we could not give every number the attention it deserved, the room’s thundering applause for the finale encapsulated the exhilarating power of this captivating show.
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