Jabbawockeez

Are we too obsessed with good looks and ripped physiques? The brains behind the all-male street dance troupe “JabbaWockeez” might be inclined to agree – for the motivation to create a unity of masked, gloved dancers was sparked from the desire to draw attention away from the individual, and toward the fluid movement of a team. Have they pulled it off? If the responses of “America's Best Dance Crew” judges Shane Sparks and Lil Mama were anything to go by in 2008, JabbaWockeeZ bore the makings of a Broadway sensation never before seen in the U.S. The crew rode out six weeks in the safe zone on Season 1 of “America's Best Dance Crew”, wowing an all-star panel of hip-hop influentials with gravity defiant body-bopping to Dem Franchize Boyz' “Lean Wit It, Rock Wit It”; a like-for-like replication of Omarion's “Ice Box” choreography and a unique interpretation of the history of hip-hop – through dance! So far, they're so pulling it off!

Choreographer Shane Sparks buoyed JabbaWockeeZ early confidence, describing them as “the future of hip-hop on Broadway” - a compliment the group have been slogging hard to fulfill ever since the 2008 victory. Well, they haven't yet secured an eponymous show on Broadway – but Sin City's Monte Carlo Hotel, is a coup they'll have realized exceeds the pressure of headlining or Broadway. Las Vegas is make it or break it country, and if you can't survive here, you quite literally fall off the radar. Only despite the narrow-minded critique from minority press, JabbaWockeeZ have proven to bear a tourist attraction appeal and recently celebrated surviving their first year on the Strip with “MUS.I.C” (pronounced “muse-I-see”.)

JabbaWockeeZ might be winners of a U.S reality TV talent show, but that rarely guarantees a spot on the Strip – and if it does, the running is usually shorter than a George Wallace bit. The dynamic blend of street-dance and mime is world's away from anything Vegas might previously have regarded as “nouveau theater”. A signature statement of white theater masks and white gloves accompany every anticipated performance – confirming that JabbaWockeeZ are staying true to their objective, despite finding fame and recognition. But many attest it to be the youthful vigor, and demonstrative team-work that truly embodies a great JabbaWockeeZ experience. Hailing from the cultural melting pot of San Diego; the dance artistes share common ground, since many were previously trying to “make it” with smaller troupes. Phil Tayag, Kevin Brewer and Joe Layot originally formed an influential hip-hop crew known as the “Three Musky”, however sought to expand on their brand of unique visual entertainment with an even bigger cast. Inspired by the 1960's San Francisco crew “Medea Sirkas”, they began touring locally, flirting with critical acclaim and gaining a solid fan-base. Post “America's Best Dance Crew” the rest is history!

In true contemporary form, JabbaWockeeZ chose to shun the traditional format of a Vegas dance revue, opting instead for a loose plot that would acknowledge the aspirations of a 'WockeeZ wannabe. All eyes fall upon a solitary figure at the start of the show, whom appears to take the role of the wannabe – employed as a caretaker, sweeping the stage in half-hearted effort. A crescendo of hip-hop electronica and lightning strobes signal a flood of red on stage, as five JabbaWockeeZ spring into life dodging, weaving and robot-maneuvering around the caretaker. It's probably the only scene that objectively explains the show's title “Mus.I.C” and you realize that to Mr. Caretaker - JabbaWockeeZ are the muse!

Anyone expecting a 75-minute barrage of break-dancing accompanied by a little lighting theatrics is going to be pleasantly surprised by JabbaWockeeZ sustained delivery of 'different'. A 12 foot video screen assembled central to the stage provides a few interesting diversions, such as a “Singing In The Rain” vignette – however JabbaWockeeZ weave this into the richly diverse tapestry of the show, with an umbrella solo and a funked up remix, courtesy of San Diego break-beat group “The Bangerz”. It turns out the 6-man unit are responsible for a large proportion of the musical score – remixes ranging from the Jackson 5's “Dance Machine” to Queen's “Bohemian Rhapsody”.

So where does the roundabout of riveting comedy and dance truly stop? In all honesty, it doesn't. Of course, the show is wrapped up neatly with the inauguration of the caretaker character into the group, but the marathon momentum never let's up from the get-go. Who knows if they'll bother with Broadway, when “the future of hip-hop theater” is clearly still going down a storm (a year on) in Vegas!