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Review 1, 3-4: Asking What's Next
From Rosen/Bernstein and Peloquin, Transitions
By Gus Solomons jr
Copyright 2003 Gus Solomons jr.
NEW YORK -- As most
of the downtown dance world knows by now, on February 19 Amy
Sue Rosen lost her valiant battle against cancer, a little
more than a week after the opening of her latest collaboration with
visual artist partner, Derek Bernstein. "Break/Broke" is an exploration
of support and comfort in a community of people.
A striking setting by
Bernstein consists of a carpet of shredded material (it looks like
Excelsior, the old packaging medium that bubble wrap replaced) on
the floor and a backdrop of the same stuff with light bulbs scattered
through it. Hung from a spine of human bones it could suggest a
huge grass skirt or the flesh of a decaying torso.
Sally Bomer, Amy Cox,
Philip Karg, Kristi Spessard, and Laura Staton in stiff white lab
coats by Reiko Kawashima move glacially: creeping, staggering, collapsing,
embracing. Rotund Thom Fogarty prowls the scene like a demon/father.
At one point the others smear his skin with a black goo. Later,
he cranks a manual generator that keeps the bulbs behind the shredded
tapestry lit: the organs alive. Finally, he stops turning and the
lights go out to end the dance. A soundscape by Andrew Russ of human
sounds and electric noises and Jeff Fontaine's lighting reinforce
the mood of despair. The agonized piece is the last of Rosen's meditations
on dying, and at the last performance the cast couldn't conceal
their pain and sadness.
This shared program,
part of DTW's Carnival Series, opened with Peggy Peloquin's "Strategies
Stabilizing." For a change, there is an entirely comprehensible
relationship between the description in the press release and what
actually happens on the stage. "Strategies" is, the press release
says, "an ironic investigation of the choices we make -- to change
or not, based on the illusion of control and unintended consequences....
Peloquin abstracts the architecture of the house and the body."
Peter Richards's video
art adds wonderful dimension to the dancing without visually competing
with it. The opening image of a highway with insets of houses dropping
into the frame and dissolving segues into a solo by Barbara Grubel
(who alternated performances with Peloquin). Wearing a salmon-colored
dress by Liz Prince, Grubel tosses a handkerchief in the air and
lets its random fall direct her response: she dives under it, catches
it on her sleeve, rests her head on it like a pillow. Her character
is raging against the ravage of impending senescence.
She chews bubble gum
and spits it out; she labels her knees L and R -- on the wrong knees
-- and she barks. In a huge video close-up of Peloquin's face, she
grimaces, causing her neck to wrinkle like a turkey's and the cords
in her neck to strain. A verse by May Swenson printed in the program
pertains: Body my house/my horse my hound/what will I do/when you
Young Daniella Hoff
and Kelly Eudailey in sheer, pink, jumpers roll on the floor in
perfect unison, sometimes merging into one being by crawling on
top of one another, then shooting apart. The smaller Eudailey props
up Hoff from behind; they jog round and round the space. Hoff wears
a distorted house on her leg; Eudailey takes tiny building blocks
from a red handbag and strews them in small piles around the floor.
Later, she becomes her mother, reprising some of Grubel's movement.
C. Hyams-Hart composed
the original music of rumbling sound with wood block chatter and
haunting melodic motifs. Philip W. Sandstrom's lighting is, as usual,
eloquent: active and colorful. Two cloud-like sculptures by Matt
Gagnon that have been hanging above the stage descend and the young
women step into them, as handkerchiefs in the video behind them
float upward, turning the stage space into outer space. They drift
aloft -- or are they descending into hell? Peloquin poses provocative
questions and lets us ponder the answers for ourselves.
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