By Alexis Soloski
By Lilly Lampe
By R. C. Baker
By Alexis Soloski
By Alexis Soloski
By R. C. Baker
By Melissa Anderson
By Alexis Soloski
Tere OConnor doesnt make dances about his life or anybody elses life. Like the late Merce Cunningham, he makes dances about dancing. However, since human beings are what were watching onstage, we spectators inevitably see meaning in his work and impute meanings to it. I think OConnor is OK with that; one of the essays thats included in his companys press packet puts forward his belief that meaning in dance is arrived at in collaboration with the audiences endlessly expanding referential world.
Since every individual interprets OConnors dance through a personal lens, and cultural differences also influence that vision, you, the reader of this, are going to have to understandif you didnt already knowthat this is me thinking, conceptualizing, and writing about OConnors pungently titled new Wrought Iron Fog. Adjectives like imaginative, beautiful, stirring, witty, and enigmatic in relation to this work are mine (but not exclusivelyyou may use them if you want to). Feel free to reject my metaphors.
Wrought Iron Fog is set in a world that initially, under Michael OConnors lights, looks like a glittering, blue, polar landscape (or a fantasy of one). A densely gathered white curtain with a ragged bottom extends across the back wall of the black-box theater, and the designers (Walter Dundervill and OConnor) have also hung several clusters of slender white strings at the sides (they look a little like streams of water from very big showerheads).
I find James Bakers aural landscape less calming. It chimes and clangs and thunders. Once, I imagine a collision of myriad windup toys running amok and crashing into one another. The words that occasionally rise foggily from the depths of the score are excerpted from Samuel Beckets novel How It Is.Amid the clamor, a dissected phantom choir calls out briefly. I thought I heard the first word of Agnus Dei, its s prolonged into a hiss. Periods of silence feel like a relief, as if worldwide traffic had suddenly come to a halt.
And this is where five extremely interesting, vibrantly physical, mentally acute people live. The costumes, by Jennifer Goggins and Erin Gerken, underscore their individuality. Heather Olson wears a long-sleeved, transparent, blue-violet tunic (over a leotard) that emphasizes her long bare legs. Sturdy Hilary Clark, with her unruly blond mane, is clad in a brown fitted dress that has the air of a uniform. Small Erin Gerkin, with her movie-star face and ballerina hairdo, is garbed in a sort of elegant gym suit in brilliant red. The two men, Daniel Clifton and Matthew Rogers, wear similar tights and sleeveless, untucked shirts in deep jewel tones.
OConnor is a master of structureof designing patterns in space and breaking them up, of making rhythms expand and contract. These days, we often see movement that wrenches askew, deconstructs, or debilitates the body. Most of the time, OConnors dancers are in control, although I dont mean to imply that theyre buttoned-up, only that they launch themselves into his bold, arduous, inventive steps as if they were tackling their daily work and had to engage in it as fully as possibleencompassing a lot of space, managing time with bravura efficiency. Joining with one another in counterpoint or unison doesnt seem an arbitrary act, but one willed by consensus or individual decision.
However, OConnor also makes use of curious gestures, fleeting images of emotion, or patterns that trigger associations in our minds. The five may suddenly wilt or stagger, fling themselves around or thrash on the floor, orin the pieces openingbend slightly, meltingly, and make inscrutable soft, tentative movements with their hands. After a duet for two that seems like an intense movement dialogue (or maybe twin soliloquies), Clifton and Rogers recline like odalisques and stare at one another; they also at some point put their hands on their hips and tiptoerunway models, but without attitude. Suddenly my eye is drawn to a corner: Gerken has fallen on top of the supine Rogers, and he starts scrabbling on his back toward center, with her still lying on him. Twice the dancers form a chain close to the first row of spectators and, holding hands, support Clark, whos attempting to balance on the ball of one foot. When she backs away after a while, the others stare at her; she gestures wanly (apologetically?).
Images like this stick in my mind. Theyre like conversations overheard on the street, whose cause or conclusion you never discover. Were allowed to watch the fascinating performers (OConnor thanks them in the program for their contributions to the movement material) for an hour; they dont mind. But although theyre matter-of-fact, theres nothing prosaic about this richly textured dancing. Its more like some of todays elusive poetry of the mundane; a line like this one by John Ashbery, Leaves around the door are penciled losses, ignites meanings you pin down at your peril. So do OConnors dances. The title of this one, Wrought Iron Fog, like the piece itself, melds what only seem like contradictions.
I doubt that Janis Brenner was making dances during all five decades of dance that she celebrates in her elegant show at the Joyce Soho; shes not that old. Shes honoring her roots, and some important mileposts in her career, in addition to paying tribute to those members of the dance community lost in the AIDS epidemic of the 1980s and 1990s.
It was as a performer in Meredith Monks work that Brenner found an outlet for her singing voice, and she opens her Joyce Soho concert by performing Monks Breakcreated in 1964, when Monk was a 21-year-old upstart, and not seen in New York since 1992. Theres no singing in Break, only such utterances as an occasional ow! or no. Its a flawless piece terse and wittyconstructed of simple, repetitive, pedestrian moves; long, intense pauses; and calmly presented disturbing images. From the intermittent sounds of a car engine starting up and later of a crash, you can intuit a traffic accident, but Monk deconstructed it in such a way that its very form embodies the notion of fragmentation, of things shattering. At one point, Brenners disembodied head appears from behind one of two white screens; the head is tipped on its side, and it slowly slides floorward before its sucked back.
Brenner danced in Murray Louiss company from 1977 to 1984. Aaron Selissen and Sumaya Jackson (coached by Robert Small), admirably recreate two solos from Louiss 1978 Figura. These are beautifully made little piecesbuoyant dancing shaped into phrases full of subtle dynamic contrasts. The mans solo is vigorous, the womans more meditative; Jackson swings her hips from one side to the other as if just discovering the sensuous possibilities of the motion.
The three other pieces on the program are by Brenner; they show both the craftsmanship she learned in her early training with Alwin Nikolais and her own interest in human passions. In her 1985 solo Guilt, Kyla Barkin, in Brenners original role, slams herself around inside a vertical, three-sided wooden box with doorknobs on two unopenable doors, while Marianne Faithfull moans, I feel good. . . I feel bad. Repetition only intensifies the womans self-made imprisonment.
A Matter of Time (1995), to music by David Karagianis, also starts with a clearly delineated dilemma. Two unhappy couples inhabit two pools of light with diagonal paths leading away from them (lighting design by Mitchell Bogard). In one house, Selissen controls the struggling Barkin (both wonderfully expressive). In the other, Pam Wagner attempts to rein in Moo Kim. The partners mouths move in silent argument; they gesture their anger, their helplessness. Interestingly, Barkin and Kim have different ways of striking out along the paths, but over and over, they get retrieved and pulled back in more or less the same way. Gradually, we see more differences between the two couples as the struggle between possessiveness and a yearning for freedom intensifies. Eventually, when the two wrangling pairs are close to one anotherstill for a momentKim reaches out his hand to caress Barkins cheek. You can imagine the rest. Yet, as the lights fade, Barkin, allied with Kim now, is looking back at Selissen.
Many dancers just starting out cannot know those years when AIDS was ravaging the dance worldthe days when youd see beautiful young men, thin and pale, helped down the street as if they were someones grandfather. I will never forget the sight of Edward Stierle, a dancer in the Joffrey Ballet, whod recently begun to display immense promise as a choreographer, walking unsteadily onto the stage during the companys 1991 season to take a bow for his new Empyrean Dances.Three days later, he died at 23.
Brenner conceived Dancing in Absentia as a tribute to all the male artists in dance who didnt survive those terrible decades. Brenner and Michelle Rosen chant a prosaic litany (I lost a sock, I lost an earring) and go on to more major losses; that list continues on tape via Bang on a Cans Lost Objects, along with other recorded musical selections by Charlemagne Palestine, by Brenner and Theo Blechmans Prayer from Mars Cantata, and by the onstage dancers harsh, rhythmic breathing. Carolyn Rossett joins the five others to create Brenners plangent visions of people gathering to lift and support others, of repeated embraces that one of the two slips out of, leaving the partner holding air. Segments of the AIDS quilt are projected on the back wall; so are 41 cut-out photos of the dead. These float across the surface, frozen in an endless leap, posing for the camera, healthy, young. Sometimes the images blur and dissolve. In five cases, the men are shown with a colleague; Bill T. Jones remains while Arnie Zane vanishes, Yoshiko Chua is left without Harry Sheppard.
The centerpiece of Dancing in Absentia is a powerful duet for Kim and Selissenangry, passionate, tender. Their companions watch, and the photos stream on. The last picture shows an unknown man, his back to the camera, squatting to peruse the AIDS quilt laid out on the undying grass.