Darby, Fujimoto, and Umami Playground Dance Inc.: Urban Steps at Atlas INTERSECTIONS by Ashayla Byrd
Chandini Darby – @chandinidarby
Kyoko Fujimoto – @kyokofujimoto_choreo
Umami Playground Dance Inc.
Atlas Performing Arts Center, Washington D.C.
February 28th, 2026
By Ashayla Byrd @abyrdnyca
All photos by Lindsey Hazen
“Darby, Fujimoto, and Umami Playground, Inc.: Urban Steps,” I read the line-up of presentations included in the Atlas Performing Arts Center’s 2026 INTERSECTIONS Festival. A fierce lover of urban living and anything involving the word umami, I figure this would be an excellent show to review. A mixed-bill performance featuring works by Chandini Darby, Kyoko Fujimoto, and Umami Playground Dance, Inc., the evening celebrates “diverse dance forms and the real-world connections that shape us as artists.” With an emphasis on the unique perspectives of the artists, storytelling, reflection, and belonging, I look forward to the expressions of each artist’s connections to their respective cities: Washington, D.C. (Darby); Tokyo, Japan (Fujimoto); and New York City (Umami Playground Dance, Inc.).
The opening drums of Darby’s work, “milk and honey,” pummel through the airwaves of the Lang Theater. Grid-like patterns of light are strewn across the stage, only amplifying the intensity of the atmosphere. In metallic-toned costumes of brass, copper, rose gold, ruby, bronze, silver, platinum, and obsidian, the ensemble of dancers traverse the stage with a militant precision. The angularity of their shapes and strength of their extensions starkly juxtapose the fluid rolling of their spines and wave-like undulations, an Africanist influence in conversation with the ballet-based technique of contemporary dance. It takes me an extended period of time to note that these dancers, as fierce as all get out, are preteens and teenagers. The maturity with which they move is awe-inspiring, and I beam with pride at the sight of this predominantly Black and Brown collective of movers absolutely dominating the stage.
A particularly striking yet somber moment comes when the cast walks around the stage, some looking at the floor and others at each other, as one of the dancers speaks in a Semitic language, perhaps Arabic or Hebrew. I could likely have heard a pin drop at that moment. As an audience member, this reads like a moment of introspection and gathering of one’s self before pursuing an especially difficult feat. The dancers then assume a triangular formation, complete with sweeping motions and an electronic soundscore. At first moving in unison, the formation disintegrates with tic-like, isolated movements, perhaps expressing a desire to depart from the mass. Fueled by their breath and individual senses of joyousness, the dancers forge their own paths towards relief. The work concludes with the image of a single soloist pouring her heart out onstage while the voice of Kendrick Lamar raps the iconic lyrics to “luther”:
Hey, Roman numeral seven, bae, drop it like it’s hot
If this world was mine, I’d take your enemies in front of God
If this world was mine, I’d take your dreams and make ’em multiply
Introduce ’em to that light, hit them strictly with that fire
From the cast, to the jazz music, to hearing Luther Vandross’ crooning and Kendrick Lamar’s bars, Darby’s work reminds me of the very best of DC. It is known as “Chocolate City” after all, and not because of the sweet treat! The program note speaks about the pressure placed on DC’s youth to “socialize, homogenize, and perform,” offering “repose, joy, and permission to rest in what feels inherently true.” I would extend that same provocation to the city itself. There is increased federal pressure to gentrify historically Black and Brown neighborhoods, disenfranchise DC’s most vulnerable populations, and white-wash as many aspects of DC’s culture as possible. It feels essential to reflect on what makes this vibrant city shine: the richness and complexity of its culture, cultivated and stewarded by Black and Brown people.
Taking a far more theatrical interpretation of showcasing a city, Kyoko Fujimoto’s “Area Code 03” showcases the “vibrant, layered sensory experience of Tokyo through contemporary ballet movement, transporting the audience into the heart of the neon city alongside the traveler.” This work is a sensory experience indeed! Tokyo, Japan is the one city of the three that I have not been to, so it is intriguing to engage with this work from a purely imaginative space. Charge it to my past experiences of ballet, but it is peculiar for me to see ballet vocabulary used to tell such a playful, modern story. I am sure that such works exist in today’s day and age, so I look forward to interfacing with more works like this one!
In a way, “Area Code 03” doubles as a Day in the Life video from a travel vlogger. The audience experiences a train ride in Tokyo, its bustling city streets, a spicy ramen bowl debacle, video games, a gang of city cats, and even a concert and light show! One traveler moves between each of the scenes. With the help of projections and the ensembles’ costumes, it is clear to the audience what experience is taking place. I am particularly impressed by the video game section. Two dancers–one in a red t-shirt and the other in green, and both in blue pants–chase each other around the stage, simulating a Super Mario game. They even go head to head–or tentacles–against a kraken-like, boss-level monster, and are almost defeated before deciding to take a break to restore their energy. Once they return renewed, they defeat the level and win the game! I appreciate the theatricality and enthusiasm poured into the scene; the dancers look like they are having a blast.
Towards the work’s conclusion, I found myself wanting more investment in the story of the central traveler. Where did she come from? What drew her to Tokyo? Did she want to linger in any particular place? Because of the fast-paced nature of each section of “Area Code 03,” it was somewhat challenging for me to settle into any one aspect of the story. Perhaps that was the intention, but I am curious to know how a selection of the scenes could be further developed and expanded to create more depth for the traveler’s journey. At certain points, the acting overshadowed the movement happening in certain scenes. I would be reminded that this was a dance work because of the sight of ballet slippers or pointe shoes. The ensemble was significantly-sized, so I would have relished more full-group phrase-work, trios, and duets that wove both the choreography and the storytelling together. All in all, though, “Area Code 03” was a joyous celebration of Tokyo. This work will be top of mind when I visit Neon City someday!
Closing out the evening, Umami Playground Dance, Inc.’s work offers a “kinetic portrait of NYC–its subways, streets, noise, rhythms, and restless energy.” I am immediately exhilarated by the steady groove of the opening music and movement, recognizing the swagger of street dance. Mimicking the overstuffed ambience of NYC’s subway stations, the dancers don their street clothes–everyday outfits one would see on the sidewalk, at the bodega, crossing a busy intersection, etc. Throughout Umami Playground Dance, Inc.’s offering, several seemingly mundane scenarios play out in the most fascinating ways: riding the subway, moving into and living in a tiny New York apartment, navigating the Big Apple’s noise-filled streets, and even trash pick-up day. Equal parts hilarious dance theatre piece and delicious street dance sampler, Umami Playground kept me laughing, recalling my own experiences on NYC’s city streets, and saying “AAYYEE,” while the ensemble of dancers grooved their way from one scene to the next.
Of all the elements that culminate into this energetic, the sometimes-pantomime, sometimes-theatre from scene to scene was my absolute favorite aspect to witness. I can honestly say that I had never seen anyone pretend to be a Roomba vacuum onstage until this show; it is truly one of the most hilarious things I have ever seen in a dance work. A dancer curls into the smallest shape they can, shuffling their feet from place to place and bumping into whatever is nearest to them. It is all too relatable to watch “roommates” weave in and out of one another’s very limited personal space to act out brushing their teeth, fixing their hair, cooking food, and trying to clean, etc. When one of the dancers “moves” into their apartment, another–with arms outstretched and bent upwards at the elbows–serves as a coat rack. Two other dancers, as dutiful as ever, use their arms to form a rectangle, more affectionately known as the TV.
Each of the ensemble members has a particular style that they gravitate towards in their storytelling, exhibiting a number of street and club dance styles that were either created in or found their way to NYC. As a dancer myself, I am always curious about how street and club dance forms, decidedly social styles, can translate to the concert dance space. In this performance alone, I see the complex footwork and polyrhythmic movements of House dance; the swift, theatrical arm and wrist positions of waacking; the roboticism of popping; and the athletic isolations of locking. Each of these styles rely heavily on the responsiveness and energy of the environment they inhabit, and I feel myself holding back my usual vocal response towards the beginning of the piece because of the proscenium performance setting. The audience is not used to engaging with the art, taking a more passive approach at first. The dancers consistently cheer for each other onstage, and that prompts the audience to do the same soon after. I would be especially curious to see a work like this done in the round, and/or in a black box theater where the audience is not as removed from the action, and the setting mimics the clubs and social spaces where these forms thrive. By the end of their performance, I wanted so much more. They continued to impress me, and they were cracking me up!
As much as my parents made fun of me for it growing up, I always have and always will be a City Girl! I thrive in stimulating, invigorating environments, often with varying degrees of hustle and bustle swirling around me. Urban Steps, brought to the Atlas Performing Arts Center by Chandini Darby, Kyoko Fujimoto, and Umami Playground Dance Inc., presented dazzling interpretations of the cities they love: Washington, D.C.; Tokyo, Japan; and New York, New York, respectively. The evening featured an abundance of dance styles; there was something for everyone to grab a hold of. The evening drove home one central point for me: people are what make any place shine. We struggle. We fail. We face challenges. Despite it all, we rise, grind, and go the extra mile just to go to sleep, get up, and do it all again.
(I know folks out in the country do the same…don’t fight me!)
Ashayla Byrd (she/they) (@abyrdnyca) is a DC-based dance artist and writer who is dedicated to amplifying the voices of BIPOC, LGBTQIA+ folks. Originally from Virginia Beach, Ashayla is eager to explore the richness of DC’s dance and writing communities!
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