The second of three performances of Axis Dance Company’s fall season at Z space in San Francisco October 26, the program started a little late because of late ticket demand. Not a bad thing for an interesting evening, followed by a Q&A adroitly handled by Rita Felciano.
For those unfamiliar with Axis, it is a, if not The dance company to pioneer where dancers with disabilities appear with fully active dancers in works created for the ensemble. Marc Brew joined Axis as Artistic Director in 2017 with the retirement of Judith Smith, the founding director. Former Axis dancer Sonsherée Giles has recently returned to the company as Rehearsal Director and Artistic Advisor.
First up was Flutter, a revised Robert Dekker trio, with marvelous, thoroughly fringed cream-toned unitards, danced by Bradford Chin, Yuko Monden-Juma and Del Marco Sleeper. The work, originally created in 2009 for three women, has also been performed by three men. All versions were set to Steve Reich’s “Clapping Music” and the “D Minor Partita for Solo Violin” by our friend J.S. Bach.
Special to the swooping arms and supple torsos were the additional swift turns and tilts to Del Marco Sleeper’s wheel chair, his ability to stop abruptly and to lift Monden-Juma when required. His presence amplified the qualities and gravitas of Bach.
Jennifer Archibald’s Petrichor-the smell of earth after rain was the first of two world premieres, set to music by Byron Metcalf and Steve Roach and Fennesz’ In My Room, costumes by Julie Bell. Utilizing all six company members with portions utilizing the considerable circus techniques of A. J. Guevara, there was a progression from the ensemble starting recumbent and curled. Some sections I felt were less about the smell of earth than winds scattering dampened leaves, the music reaching too many peaks as emphasis before the final grouping, but served to display the skills of all six dancers.
For these two works Production Manager Walter Holden served as lighting designer.
Without question, the evening’s biggest draw was Arthur Pita’s latest choreographic scenic work, Alice in Californiland, designed by Yann Seabra, lit by Allen Willner to Maurice Ravel’s “La Valse” and “California Dreaming” by Jose Feliciano. Pita’s works last seen were with San Francisco Ballet, Salome and Bjork Ballet for the 2018 Unbound Series..
The production was a stand out, opening with a canvas cloth stretched on the floor depicting San Francisco’s bridges in black and some orange. At stage back was a scruffy banner which rose at strategic points with a message, sounds of traffic emanating from some overpass, and odd shaped signs dotting both sides of the stage with messages, ranging from “Help Me!” to “Too ugly to prostitute, too stupid to steal.” The signs were whisked away for what we witnessed as Ravel’s score progressed from low rumbles to frenzied finish.
Commencing the work, every one is seen inert, sonomulent, Lani Dickinson and Yuko Monden-Juma in the center, curled against each other. The scene evolved with Dickinson in a short full skirt and bodice of blue, A J. Guevera in a pail green sack moving caterpillar like, Yuko Monden-Juma in a fluffy-textured pink tunic picking her way on her elegant legs, head encased in a beaked bird mask I attributed to Telegraph Hill parrots, but was meant to be a flamingo, Bradford Chin sporting a gilded cardboard crown, all whirling around to Ravel’s “La Valse.” Dickinson was tossed around, Monden Juma shed the tunic, her leotard body sporting a carryall with the word Hamilton on it, wandering or curling up disconsolately when not being buffeted by the male characters. In that fetal position she reached into her kit and withdrew, you guessed it, a length of small rubber hose, shooting up before wandering in a drugged daze. The frenzied sound of Ravel accompanied Dickinson’s loss of her blue gown, the work ending as the two young women curled, clinging to each other to the sounds of “California Dreaming”.
During the action, the once white canvas stage back was raised progressively, each line matching the action. At the finale, the entire message raised the question, Have You Ever Felt Invisible? In the program a small square of paper offered audience members a guide suggesting behavior when encountering the homeless.
No question an , in your face work on the situation besides the Golden Gate and
elsewhere in sunny California, blessed with remarkable visual reinforcement and six committed artists, who plunged, turned, left, covering space wholeheartedly and effectively.
What missed the mark was character development, more than shivers by Monden-Juma, the astonishment of Dickinson. We simply did not become acquainted with a street sleeper, only postures, habits, situations. Given the choice of Ravel, I also wonder whether that would have been possible. Still, the production and subject matter had a distinct effect on the warmly receptive audience.
After a brief statement by the Axis president, Abbie Dutterer , a Q and A followed led by Rita Felciano. She initially thanked Arthur Pita for making a work about S.F.’s lesser occupants and asked him how he had come to select the subject. Pita recounted having seen a recumbent homeless woman en route to his dinner when he was mounting a work for San Francisco Ballet. He said she was inert, and also observed how she was ignored by other pedestrians. When he finished his dinner she was gone.
Artistic Director Mark Brew commented the work had been two years gestating, Axis collaborating with Hospitality House and other organizations involved with the homeless to be certain the production rang true. Mary Rogus, acknowledged in the program notes, thanked Axis for being so attentive to this marginal population.
One woman in the audience with experience with the homeless spoke eloquently of the need to acknowledge their existence, enforcing the emotion of that grungy canvas.