to you by
New York manufacturer of fine dance apparel for women
and girls. Click here to see a sample of our products and a
list of web sites for purchasing.
With Body Wrappers it's always performance at its best.
Go back to Flash Reviews
Review 1, 1-25: She Came, She Slaw, She Conquered
Alpine Madness from Yvonne Meier
Copyright 2005 Gus Solomons jr
New! Sponsor this Writer. Click here for
NEW YORK -- Yvonne Meier's
"Mad Heidi, Part I" and "Limpopo, I and II" took some of us down
memory lane, back to when this Swiss miss was throwing herself around
all over downtown dance, as one of its premiere -- and wildest --
improvisers. At Danspace Project at St. Mark's Church, January 20-23,
Meier restaged "Heidi," this time with Bessie award-winning uber-improviser
Jennifer Monson performing it. And those in the opening night audience
who hadn't seen the 1997 original loved it too. Meier conjures up
wildly imaginative images and situations for her expert performers
to respond to.
As Carol Mullins's whimsical
lighting rises to a dim level on a prelude to "Heidi," Meier squats
in the shadows and Ishmael Houston-Jones, who's strapped to the
floor with packaging tape, begins to stir as if he's rising from
the dead, creating loud crackles as the tape tears from the wood
floor. The two cavort briefly, mysteriously, in the mottled twilight
before darkness falls.
When lights restore,
Monson climbs down a rope from the balcony, wearing a red dress
and hiking boots, and clomps around the space to Swiss folk songs,
yodeling, and ticking cuckoo clocks. Monson alternates slow restraint
with wild abandon; she hurtles back and forth through space like
a dinghy on a stormy sea; she repeatedly hurls herself to the ground
and rolls; she sprints in a big circle, losing a shoe. Then, she
strips naked, climbs into a crate of dirt, and wallows in it.
While Monson thrashes
around in the crate of earth, Antonietta Vicaro and Osmani Tellez,
both wearing fake-fur hooded vests, roll out three giant rolls of
foam rubber for "Limpopo." The two resilient dancers proceed to
fling themselves onto the foam bales and roll off in innumerable
ways. The excitement of their reckless near collisions builds, while
the barrel of fun they're having makes you want to dive in.
After "Limpopo I," Monson
emerges from the dirt and dons a skirt that's packed with something
weighty. As she spins, the load shifts and gradually spills out
a bushel of walnuts, which fly all over the floor. Naked, she dances
suggestively with the handle of a broom, and then, dressed in a
shift, she jumps rope, and tosses forks at a foam board, trying
to impale it.
"Limpopo II" returns
with more bouncing off the foam, while Monson cracks a lion-tamer's
whip, and Houston-Jones and Meier begin to grate the 50 heads of
cabbage that have been sitting on the upstage risers throughout,
teasing us with the potential of Cole slaw. Meier's whimsical insanity
remains as trenchant as it was in 1997.
Go back to Flash Reviews