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In their third year, Spark Movement Collective is premiering their first solo production Push to Play this weekend at the University Settlement’s Speyer Hall. Under the auspices of Artistic Director Chelsea Koenig, Spark seeks to develop innovative, accessible dances “that connect with the everyday lives of its audience members and community.”

Push to Play features two short dances “Best I Can” and “Breathe” as well as the full-length “Rules of the Game” comprised of thirteen dance vignettes all centered on “the many games people experience in the world of dating.”

Push to Play is largely choreographed by Koenig with one vignette by company member Noemi Di Gregorio. In addition to these two dancers, the ensemble features Lester Badenoch, Kim D’Agnese, Matt Dittes, Jenn Eisenberg, Jessica Moore, and Brent Radeke.

While all of the performers are skilled and showcased well, Jessica Moore and Brent Radeke stand out from the company. Moore gives a flawless performance and uses her body beautifully making for striking dance. Radeke is both charming and athletic, bringing presence and charisma to his work. It is a high treat when these two talents are paired for pas de duex. Matt Dittes and Chelsea Koenig also pair well, complementing one another in both shape and style. Noemi Di Gregorio fills every moment she is on stage with pizzazz and energy. And while most of the dancers fall into Schmacty traps, the cheesiness comes from an unrelenting energy that carries the performances.

“Rules of the Game” is most successful in its comic moments like “Cling,” “Search,” “Lean,” and “Wait.” “Cling” has innovative, exciting partner work, and in the section “Cards” there is a great use of negative space and complimenting shapes. “Search” is very cute and fun and a major crowd-pleaser. As the most recognizable scenario, Chelsea Koenig’s solo “Wait” is the easiest to follow despite the movement being the least connected to the action. And Di Gregorio’s contribution “Rebound” reins as the sexiest piece, thanks in large part to the chemistry between Di Gregario and Lester Badenoch, the latter of whom dances with wonderful heart.

The most successful section in “Rules of the Game” is “Learn,” a beautiful duet between Jenn Eisenberg and Jessica Moore. It is well danced, gorgeously choreographed, and features beautiful shapes and partnering. “Learn” is sincere, endearing, and clean; Koenig and the company should be very proud. They have set the bar for themselves with this piece.

“Rules of the Game” features early work, and as such there are weaknesses. One of the major obstacles in “Rules of the Game” is that the choreography is not entirely tailored the dancers’ skills, making the variations in skill level obvious. Dancers are given movements they can not execute with full success. A very terrifying lift serves as a dangerous example of this oversight, but there were also minor weaknesses like jerking promenades, shaky balances, and rushed sequences of rapid movement. If a dancer isn’t consistently up to the movement, one of the two things should be changed.

After “Rules of the Game,” audiences are treated to two short stand-alone pieces. “Best I Can” is choreographed by Matt Dittes for Lester Badenoch, Chelsea Koenig, Jessica Moore, and Brent Radeke and features original music by singer/songwriter John-Flor Sisante. Sisante lends his haunting vocals to this smooth, soft piece. “Best I Can” benefits from intricate group work and beautiful, complex shapes. “Breathe” was choreographed by Koenig and the company, and may have suffered from too many creators. The movement is vague and not cohesive, but Kristen Kairos and the ensemble create the accompanying music on stage using glass and metal bowls--it proves the most dramatic and exciting choice of the production.

Stephanie Wessels’ lighting design is more theatrical, supporting the mix of pedestrian and dance movement and furthering the story being told with clever use of specials, color, and mood. Casey Koenig’s costume designs are whimsical and textured, but the “Rules of the Game” garb seems compromised by limited resources and the costumes for “Best I Can” prove the best.

Spark Movement Collective is still green, but very promising. Koenig is capable of lovely work, and her board proved their production prowess with this show. Spark clearly has the ideas, enthusiasm, and community needed to succeed.

Performances are April 13 – 14 at Speyer Hall, 184 Eldridge Street (at Rivington). Tickets start at $12 and are available at BrownPaperTickets.com, or will be $15 at the door. For more information visit www.SparkMovementCollective.com.