ODC’s Succulent Summer Sampler

23 Jul

Succulent usually refers to a plant which is hardy and can last through dry spells without withering all that much. Not a glamorous attribute, but why knock the sturdy? Especially when the contours and edges frequently display unusual shades and shapes. The 2016 Summer Sampler at ODC’s B Way Theatre provided this quality to the July 22 audiences for three short numbers, two of which were reprises, one a work in progress.

The partially formed work was attributed to K. T. Nelson, not yet titled, to a mix of music by Julia Wolk, Ben Frost, Frideric Handel, Hauschka probably collated by Natasha Adorelee Johnson, who doubled as dancer and sound engineer, the results performed by the entire company.

Nelson’s conceptual map knows little boundaries though the development can seem, at times, perfunctory in its visual support. She is not normally one to explore a theme that’s small scaled; the impact is one mesmerizing by the dancers’ skill, musculature and the rush of the theme thundering on the heels of the dancers’ considerable technique. Nelson is concerned here about the human place in our universe of technology and what does it do to our cultural inheritance.

Jeremy Smith started the adventure, shaved head, and minimal garments, making almost Egyptian profile movements and flexing his arms and hands. He is interrupted by Brandon “Private” Freeman and the two exchange body grasps, lifts and shuffles. Gradually the women make their appearance, also minimally clothed in short trunks or skirts. But they come sporting props which they place briefly on Smith – a white wig, a neck ruff, a lace gilet – a Soldier’s cap – before removing them. Tegan Schwab arrived with a fan which she gives to Smith, there is a white plume on another woman’s head – the ‘Twenties, perhaps or possibly le regime ancien.
This succession gives the audience a quick historical references as the other company members appear with similar reference points. The movements, some breath-taking lifts and tumbles, call prior formalities into question.

Following a pause, Brandon “Private” Freeman reprised Going Solo (2016), seen to such advantage at ODC’s Dancing Down Town season. Freeman’s mid-sized, muscular body now sports a couple of tattoos on one of his upper arms; thankfully it only slightly distracts from the sculptural acuity of his spatial movements, as Freeman moves his hand, then arms into space, bending, stretching, and finally, with the aid of water from his plastic thermos, sliding, surfing forward and backward on the floor, standing, and on his back. It is a tour de force reaching the audience with a visual solemnity akin to standing in a cathedral.

After Intermission Brenda Way revived Waving Not Drowning (A Guide to Elegance) (2010) possessing a joint French-English narrative regarding deportment de rigeur for French females. With Way’s capacity to nudge and mock both gently and visually, the company provided madcap movements and adornments, the women papering the men dressed a la mode.

The company now comprises, in addition to Smith, Freeman, Johnson and Schwab, Dennis Adams, Josie G. Sadan, Steffi Cheong, Jeremy Bannon Neches, Alec Guthrie, Allie Papazian.

In her introduction to the evening, Brenda Way said that they were looking forward to the company’s 50th season. In course of their planning, they wanted the audience to provide the names of works they particularly remember, a place for which was provided on one side of the program insert. For those of you who remember the early days of the company, do e-mail the titles of works which particularly stick in your mind. They will be welcome.

Finally, Carlos Carvajal spoke to Kimi Okada his pleasure and gratitude to ODC’s leadership for the remodeling of the theatre. “They could have left the theatre as it was, but instead, they had a vision of what it could be. They have my wholehearted admiration.”

Mine, too.

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