RDT Link: W.A.L.N.U.T.

Justin Bass is the latest local artist, and RDT company member, to take advantage of the RDT Link Series which allows dance makers to access studio and performance space. Justin presented a new trio, “W.A.L.N.U.T.” in the West Studio over the weekend and with lights donated by the University of Utah formalizing the intimate space, there was an openness and sense of possibility. With dancers who were technically precise and committed to the process, that sense was further amplified. As I was leaving I overheard Justin explaining the title’s  acronym but averted my ears as I’d made up my own possibilities while watching:

Women are limitless, never underestimate them.

What about letting nothing ulterior takeover?  

When are labels needlessly under-taken?

The movement of the all female trio alternated between what feels good to do and what feels fierce to do. Both make sense in context of movement generation in Justin’s living room to Santigold’s 99 Cents. But the dance’s content shifted in a formal direction with Justin opting to stage the material to Terry Riley’s “In C.” There is some humor in the fact that it was a suggestion by Daniel Charon to seek new music that led him to “In C” on Spotify; Charon also choreographed recently to the piece for Ririe Woodbury. Near the end, “W.A.L.N.U.T.” became a bit overwhelmed by the full length of the score but for the most part it’s momentous loops served to drive the material.

All of the dancers (Elle Johansen, Elyse Jost and Tiana Lovett) are deeply physically invested in the choreographic process which will continue to unfold throughout the year with a later performance to be determined. Each dancer has the ability to move in ways that are equal parts intense and cavalier which served Justin’s aesthetic and maintained my interest during long solos and fleeting duets.

As the work develops I consider that its main concern will be continuing to locate itself in a public way; a gestural nature and close community of creators risks insulating it’s current magic if it develops inwardly instead of outwardly.  

Ashley Anderson is the director of loveDANCEmore events as part of her non-profit ashley anderson dances.  loveDANCEmore reviews are co-published with 15 BYTES.

YOU at the Rose

YOU, an immersive, interactive dance production choreographed by Graham Brown is running a total of six times at the Rose Wagner Black Box over this last weekend of January.  This performance invites the audience member you, (andme) to enter into the space and play a role in what is taking place.

My night started with doing the kid hand off with my husband (who made it just in time), picking up a friend who wanted confirmation that her pants were cute (they were), and scoring the perfect parking space right in front of the Rose. Together we walked into a completely open black box theatre where groups of people were dancing as if at a club, while others stood on the sides and watched or talked amongst themselves.  I wanted to dance so I did, my friend wasn’t as inclined, so we talked while I shook my shoulders and moved my feet to the beat.  The space was littered with everyday objects from home life; a fridge, a bed, a couch, clothes, a handwritten note…and we were free to rummage and explore.  I found an electric bill for $35 and thought that seemed pretty low; must be a small house or apartment.  It was refreshing to see several children at the show, and the loud music and free structure absorbed any extra noise or irreverence.

Suddenly the group that was dancing in the middle of the room started into unison choreography, a scene that I wish for every time I go out dancing.  The movement is a blend of the release common in Utah’s modern dance scene alongside what you may see at a rave. Eventually this dissipates, and at one point the words of a song are passed out and we all sing together as one group. Even though I was unsure of the tune and don’t sing well, I liked this, it made me feel connected to this impromptu community.  Little vignettes of everyday life start to unfold; a babysitter reads a bedtime story, someone makes an agitated phone call, a couple juggles the care of a child. Several things are happening at once and it’s hard to know what to watch.  I didn’t want to miss anything important, but at the same time am grateful for the dimensionality of the space.

The four main characters, Keanu Brady, Mikayla Ellison, Shawnee Jo Haycock and Jersey Reo Riemo move smoothly between the roles of dancer and actor, performer and pedestrian.  One moment they are developing a story line and the next they are asking an audience member join them in a dance.  Although I was enjoying all the pop-up scenes at one point I began to ask myself ‘what exactly is at stake here?’  Then, as if on cue, a more developed vignette appeared: Brady and Ellison at a table for two experiencing the passage of time in the form of love, passion, stress, alienation, children, frustration, adoration, tantrums…family.  The relationship between these two is very clear and emotionally moving, at one point in the show they again experience the passage of time and life in general through rapid and continuous wardrobe changes.  Less narratively clear, but deeply physically embodied, is the relationship between Haycock and Riemo.  These two fill the space with undulating torsos, quick aggressive strikes of hands and legs, and playful stances and breaks.

The evening culminated with what we all need: a hug.  A really long hug.  As the performers hugged I could feel that the intent was for us, the audience, to break down a barrier and hug one another.  We had shared an evening together: dancing, watching, and singing.  I wanted to hug the friends that I was standing next to, and I craved the human interaction that I saw the performers experiencing, but as no one else that I could see in the audience was taking the cue I let the moment pass.  Maybe I’ll just have to go tomorrow night to get my hug in.  You should go as well.  In fact, maybe I’ll see YOU there.

Erica Womack is a choreographer based in Salt Lake who also teaches at SLCC.