More about Ek's piece
Casi-Casa set on Hubbard Street.
Let me tell you more about
Casi-Casa. Or rather let me tell you about what it did for Hubbard Street, because it seems to me that is what I'm mostly jazzed about. Viewing dance is all about context. Who that viewer is, what they've seen before, what they are expecting, what they see in that moment and how it relates to what came directly before and after it. Dance criticism is a whole different animal and I'm not going there. I could, I have skills, I'm just more interested in telling you about why a modern dancer from the midwest with my background might see things the way she does.
Jumping to my expectations (you can look up my who and what on my
website): Before I moved to Florida for 3 years, I had a number of conversations with different dancers about many companies including Hubbard Street. They're the big modern game in town, so they come up quite a bit. This is the number one sentiment I heard from people: "Don't get me wrong, they've got lovely dancers, but their choreography..." And it trails off in various ways after that. Talking about "lovely dancers" is dance world speak for "don't waste your money". I use it constantly. After all, the buck stops at the Artistic Director. You've got the talent, don't waste it. But, what has happened in the last few years since I left and came back? New Artistic Director
Glenn Edgerton is what. Same thing that happened to
Luna Negra and others. Their direction is what makes me excited about American modern dance again. Them and the
Cuban influx. It's about time we had a revitalization!
So how does this fit in to my viewing experience? I was expecting lovely dancers and I was questioning how they might handle Ek's work. I mean, what could possibly compare to
Sylvie Guillem in Ek's Wet Woman? I must admit, my excitement was mostly about Ek's work and not about Hubbard Street, so when they did a fair job of it, I was very excited, especially considering the previous
three pieces in the program (
Untouched by Azure Barton and 2 others from Alejandro Cerrudo) which were more in Hubbard's zone of comfort. How these previous three pieces played out, so strong in technical prowess, drama, and the highlighting of the human body (yes even Cerrudo's minimal
Blanco was all about the body's prowess), really set the stage for Ek's focus on human interaction and his strength for moving bodies around the stage to reveal a landscape or a mood.
It was much less about the dancers' technical abilities as it was about how they could relax into the difficult movement tasks given to them and reveal what is at the heart of it. Quinn Wharton's opening and closing solos weren't as grounded as I wanted them to be, although I've seen him in rehearsals (the plus-side of Hubbard Street's rehearsals often being next door to their open classes) for other works display the ease needed to sink into a work like Ek's. The gravitas needed to really pin down a role like that just hasn't made its way into this particular performance yet. It's all about that delicate line between doing and being, showing and revealing. Don't hate me Quinn - you're so pretty and I like your shoulder-girdle mobility. I told someone that loudly within earshot of someone else who I thought might pass the info along to the powers-that-be, so you're welcome.
Another moment I have a question about was the militant housewives with the dragging vacuum cleaners. A hilarious section complete with bagpiping music (all the more funny given their implements of cleanliness) and dancing that gave a little send-up to traditional step dancing was overdone by angry outbursts from the women. By itself, the section is brilliant, but all previous verbal outburst we at the top of the emotion spectrum as well, so this one played overwrought. That being said, the housewife of this section, whose name eludes me (Anna?), was spot on. Holy crap. Her emotional depth in this role was certainly equal to that of Meredith Dincolo's striking opening solo in Azure Barton's
Untouched. Everyone else paled in comparison to her bound-up Housewife, and I wanted it that way. A little salt on my meal, thank you.
A couple of words about the empty stage, caution tape, and blaring music: You tease. I liked it, music might read... on the annoying side of startling, nice placement, and thank the good lord of dance it didn't come after the baby-oven scene.
I described, with zeal, this piece to my college students who were not impressed and made faces at my descriptions. Ha! I guess this means this work isn't for everyone, but I like to think it is for people who are especially interested in the messy and often banal intricacies of life.
The end.
So, as some of you know, I have been raising travel expenses to get to Chicago. Why? Because when I was living there, I was a company member with Mordine and Company Dance Theatre, and right before I left, it was decided that Mo&Co would be one of the season openers on The Dance Center of Columbia College's 40th Anniversary Season. As The Dance Center is one of the major places to see dance in Chicago, I was very excited. 