By Alexis Soloski
By Molly Grogan
By R. C. Baker
By Christian Viveros-Fauné
By Alexis Soloski
By Alexis Soloski
By Lilly Lampe
The dancer-actors speak words drawn from 85 interviews Newson and others conducted; most of the terrifying stories are those of men and women from immigrant culturessome of them raised in Britain, others asylum-seekers who escaped to what they knew to be a tolerant country in terms of anti-discrimination laws. However, ultra-conservative British Christians (heard on tape) speak of homosexuality as a curable abomination, anti-gay violence crops up, and songs by such Jamaican reggae artists as Buju Banton, whose Boom Bye Bye advocate the killing and burning of gays. In some Islamic neighborhoods, religious customs supersede the laws of the land.
The stories emerge through the doors in Uri Omis set of wooden walls, and seep through its windows. Surfaces become blackboards on which a graffiti splurge of hate messages develops. While Dan Canham delivers one of those in-denial I dont think Im gay speeches, behind him, on a wheeled-in wall, Langolf rapidly draws sardonic arrows and symbols; when Canham convinces himself of his own virtuousness, he gets a chalk halo and wings. A live performer in a morphing projection of chalked rooms (by video artists Kit Monkman and Tom Wexler) puts out his hand, and a virtual door opens. Projected phrases penetrate a front scrim and appear in receding layers.
Fear, hatred, confusion, self-doubt, and occasional joy thread through the overlapping episodes. Many speakers try to reconcile religious belief with sexual preferences. An African woman (played by Coral Messam) saw her lover nearly killed (a bottle in her ass), but shes a Christian, and she still prays. A convert to Islam (Seke Chimutengwende), one of whose ex-lovers was an imam, is certain that the Koran denounces only anal rape but avoids consensual anal intercourse just in case hes wrong.
The dancing is profoundly organic. A well-behaved 15-year-old from Hull told his Muslim father and brother he was gay and was stabbed by them in an alley and left for dead. Ankur Bahl recounts this while jumping rope with amazing virtuosityhis rhythms responding to those of his memories and thoughts. A married Muslim (also Bahl) loves a married non-Muslim man and loves to danceboth forbidden; however, as long as he keeps this secret from the outside world (but maybe not from his wife), he thinks hell be fine. All the time he talks, he dances in the Bharata Natyam style, while his lover (Langolf) imitates him. Ermira Goro spins and spins around the stage while speaking as a 70-year-old rabbi whos too tired to continue combating the destructive aspects of religion. Ira Mandela Siobhan notes his Catholic education while rippling his body fantastically to the fierce music emerging from the DJ booth on wheels; behind him, the DJ (Paradigmz) echoes his moves. When Rafael Pardillo convulses his torso, the act becomes an ordeal. After gays are likened to animals, the cast prances wearing horseheads and holding up letters of the alphabet to form a variety of ugly catchwords. All join in a rhythmic bonding dance while seated on chairs. The last image as Beky Stoddarts lights dim is of Chimutengwende shaking his hands faster and faster overhead as he leaves his ultimate judging to the God he still believes in.
I applaud Peak Performances at Monclair State for sponsoring not only many notable premieres in dance, theater, and music, but for presenting groups whore not currently booked for New York appearances. DV8 Physical Theatre, sad to say, hasnt performed in the U.S. for 15 years.