BAM Next Wave presents "Haruki Murakami's Sleep"

from Haruki Murakami's Sleep
(photos: Julia Cervantes)

If you did not sleep for seventeen nights, wouldn't you be terrified? Jiehae Park doesn't look a bit frightened, though, when we first find the actress portraying "Woman," a Japanese housewife and mother, in Haruki Murakami's Sleep, presented by BAM Next Wave.

She's calmly, evenly performing a dry ritual--logical gestures and motions of everyday life in the everyday world, hands purposeful, smooth and deft. Where are the items her hands would actually touch and handle? From our point of entry and view, they are invisible. The box that houses her--taking up not quite all the width of BAM Fisher's Fishman Space--is open to the front and contains only a few, simple, representative things. A chair, a standing lamp. Normal enough. Normal enough...to be suspect.

With the audience fully assembled and houselights lowered, Park begins to address her sleeplessness and its cause. But, under a cool wash of light, her affect hints at fiery excitement. Her face betrays it; her speech races. What might be a source of legitimate concern for any one of us has become, for her, a portal to freedom. She relishes it.

Rachel Dickstein shares directing and choreographic credit with her Brooklyn-based Ripe Time troupe. With a luscious live soundscape by NewBorn Trio and an adaptation by playwright Naomi Iizuka of Murakami's short story, "Sleep," the production draws our eyes and ears into an internal world splintered and continuously shuffled like a deck of cards.

A husband slips into and out of the box--a dentist, nothing more down to earth than that--but he is clearly archetypal "Husband" as he exists inside "Woman's" head. And that head can produce more apparitions through the visual magic wrought by Dickstein's design team and the troupe's physical theater strategies. There are clever projections and material embodiments of "Child," "Shadow," "Anna Karenina"--a character lifted from Woman's daily reading--and other beings and other selves. And a floor board that can detach to become a table. And a table, tilted onto one edge, that still functions as a table you might sit to and gaze across because you see what you choose to believe.

She was not herself.

But no one has to know.

Woman awoke, one day, with one foot still anchored in a dream and chose this situation as a way to survive. An alluring time out of time for Woman becomes one for us as well.

Set design: Susan Zeeman Rogers
Projections design: Hannah Wasileski
Lighting design: Jiyoun Chang
Sound design: Matt Stine
Costume design: Ilona Somogyi

Haruki Murakami's Sleep continues tonight through Saturday, December 2 with evening performances at 7:30pm and an additional 2:30 matinee on Saturday. For information and tickets, click here.

BAM Fisher
321 Ashland Place, Brooklyn
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It's complicated: Cynthia Oliver celebrates Black masculinity

At left, Duane Cyrus with Jonathan Gonzalez
in Cynthia Oliver's Virago-Man Dem
(photo: Chris Cameron)

The Latin prefix “vir” means “man”; the suffix “-ago” indicates female. Thus, the term “virago” has, since ancient times, suggested that elusive flicker between genders we know so well and deny so violently. 

--from promotional text for Cynthia Oliver's Virago-Man Dem

Dance artist Cynthia Oliver centers the human body in her adroit Virago-Man Dem, just opened at BAM's Next Wave Festival. In fact, the four bodies centered here--Duane Cyrus, Jonathan Gonzalez, Ni’Ja Whitson and Niall Noel Jones--comprise one of the most cunning, most satisfying performance ensembles on hand this season. But Virago-Man Dem also boasts visual and sonic design of strong-enough confidence to support its movement without distracting or detracting from it. Particularly impressive is the work of Black Kirby (Afro-speculative comics artists John Jennings and Stacey Robinson) with projections and animations by John Boesche and lighting designer Amanda K. Ringger's rich imagination of place, time and mood. With costume designer Susan Becker and composer Jason Finkelman in the mix, Oliver directs a dream team of adepts at BAM Fisher.

With this piece, Oliver cracks open masculinity as a fixed idea received and upheld by Black men. Inspired by her dancers' experiences as well as her dual sensibilities as a woman of Afro-Caribbean birth living and working in the US, she draws from observation of masculinities, finding material in a deceptively easy stroll down the street, a clever dash on a basketball court, a sinuous sashay along imagined catwalks and more. What makes her resulting dance not merely a patchwork of a bunch of stuff done by three male-identified performers and one gender nonconforming performer is her taste and talent for connective flow and her eye for how being willfully or ecstatically off-center or molten or in-between uncovers the more inside the person. More self, more capacity, more joy, more supple, resilient strength. It's this more that, sadly, often threatens individuals, families, communities, religions and nations. It's this more--isn't it?--that for which we secretly yearn and which artists brilliantly model for us.

It might not necessarily take a woman to watch these things from the outside and bring them to her canvas or stage, but it takes this woman, perhaps, with  apparently endless reserve of movement ideas to bring her concepts alive and keep us interested over 75 minutes. And from the work's beginning (in physical stillness and visual murkiness) through the hoodie-covered dancers' testing of bodies and selves and their growing clarity and enlivening, with Ringger enhancing the dimensions of Oliver's sculpted movement, we're kept on the edge of our seats.

Here's a journey ready to be taken more than once, but consider yourself lucky if you get to see Virago-Man Dem even just one time.

Virago-Man Dem continues tonight through Saturday evening with performances at 7:30pm. For information and tickets, click here.

Prior to tonight's performance, Cynthia Oliver will offer a free talk, Examining Black Masculinity, at 6pm in Wendy's Subway Reading Room, downstairs at BAM Fisher.

BAM Fisher
321 Ashland Place, Brooklyn
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What's Next? A solo for the great Germaine Acogny

Germaine Acogny is performing the New York premiere
of a work by Olivier Dubois of Ballet du Nord
at BAM Next Wave.

Sounds of a bassoon undulate like incense in the absolute dark of BAM Fisher's space. We're taking first, tentative steps into the mystery of Le Sacré du Printemps with choreographer Olivier Dubois of Ballet du Nord.

In this imagining of Stravinsky's rite, Mon élue noire (My Black Chosen One): Sacre #2, a 2014 solo for septuagenarian Germaine Acogny, Dubois first makes the audience wait in darkness through long stretches of music. We wait in the cloying aroma of tobacco from, as we later learn, a pipe gripped in the dancer's teeth. Intermittent flashes of light--a thin line vertical line--tease us. The music dials up uncertainty, tension, apprehension.

It's a while before we get a stable-enough look at Acogny and her setting--a platform in a black box that, over the course of the nearly 40-minute dance, confines her, sometimes elevating or partially obscuring her. She wears a black bra and slacks. One's immediate, disturbing thought: Dubois has turned her into a specimen for display.

Her close-shaved head emphasizes formidable features. She stomps the floor like a bull ready for battle. We continue to be stymied and tantalized by fugitive light and the afterimage that it leaves.

Talking to herself, laughing to herself, wrapping her head in black cloth and dragging it off, Acogny is a woman on the verge...of something. A woman to be admired at one moment and feared the next. One passage though, where she mimics the blare and clash of the music in voice and harsh movement, seems a weak offering, merely ordinary after the audacity of the work's initial staging. The regal and storied dancer looks merely petulant.

Were it not for the program's hair-raising quotes from writings by Aimé Césaire--one on the ravages of colonization, the other excoriating anyone who would stand apart, as a spectator, while the world burns--it might be tricky to figure out who Acogny might be, as dreamed up by Dubois, or read her actions said to be "drawn from the depths of her African soul."

In any event, any chance to see the influential Acogny perform here is a worthy occasion. Final performances are tonight and tomorrow, Saturday, at 7:30pm. For information and tickets, click here.

For more information on the 2017 BAM Next Wave festival, click here.

BAM Fisher
321 Ashland Place, Brooklyn
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"To our next...." A letter from Bill T. Jones and company

Last night, I walked away from Bill T. Jones's A Letter to My Nephew with a palpable sense of the man's unwavering concern and love for an individual as well as an entire community. Danced by the brilliant Bill T. Jones/Arnie Zane Company, the work takes inspiration from the life and personal struggles of the choreographer's nephew, dancer Lance T. Briggs. Jones reaches beyond this single relationship--described elsewhere as "complicated"--to embrace the culture and resistance of today's youth as they confront our violent, racist, homophobic society...and themselves.

This New York premiere of this 70-minute work for BAM Next Wave, presented in association with New York Live Arts, will run through this Saturday evening at BAM Harvey.

Jones keeps current--even adding the words "Las Vegas" to his acknowledgments of settings of atrocity, displacement and natural devastation. One feels two realities continuously entwine--the pain of life and the raw energy life offers us to make art and meaning. Jones and his team walk a perilous edge yet craft a meaningful world out of exhilarating energy.

Radiating across the marked-off intersection of performance space, their work blends street, ball and contemporary dance with the ingenious manipulation of a large prop. Movement within the body and among bodies flows with silky sophistication. The dance might be a hospitalized patient's fever dream of turf fights and catwalks in an environment changing so swiftly, so unpredictably, that one must shapeshift in order to survive. The poise and malleability of Jones's dancers--as individuals and as an ensemble--make this idea spring to life. Along with Jones and associate artistic director Janet Wong, the nine dancers contributed to the choreography and are given due credit. Let's celebrate them here, too: Vinson Fraley, Jr., Barrington Hinds, Shane Larson, I-Ling Liu, Penda N'Diaye, Jenna Riegel, Christina Robson, Carlo Antonio Villanueva, Huiwang Zhang.

Original score: Nick Hallett
Live vocals: Matthew Gamble
Set design: Bjorn Amelan
Lighting design: Robert Wierzel
Costume design: Liz Prince
Projection design: Janet Wong
Sound design: Samuel Crawford

A Letter to My Nephew runs through Saturday, October 7 with performances at 7:30pm. For information on other BAM Next Wave events, click here.

BAM Harvey
651 Fulton Street, Brooklyn
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Kronos Quartet brings "My Lai" to BAM Next Wave

Tenor Rinde Eckert (left) as Hugh Thompson, Jr.
and musician Vân-Ánh Võ in My Lai
(photo: Richard Termine)

On the morning of March 16, 1968, U.S. army soldiers fired upon more than 500 unarmed civilians--elders, children, infants, women, some raped and mutilated--in the South Vietnamese hamlets of My Lai and My Khe. More innocents would have been slaughtered in this Vietnam War atrocity--since known as the My Lai Massacre--were it not for the witness and persistent intervention of a young American helicopter pilot, Hugh Thompson, Jr. His three descents into the chaos, though futile as attempts to halt the killing, ultimately saved lives, including, on his final landing, a young boy rescued from his dead mother's arms.

For Thompson's courageous efforts and his official reports of the massacre, he at first became a pariah in Nixon's America, as much a non-surprise as it is heartbreaking. His story inspired a concise, deeply affecting opera, My Lai, now in its New York premiere run at BAM Harvey Theater for BAM Next Wave. It was composed by Jonathan Berger with a libretto by fiction writer Harriet Scott Chessman for Kronos Quartet, tenor Rinde Eckert and Vân-Ánh Võ, a master performer of traditional Vietnamese string and percussion instruments.

Running at 70 minutes, the work suggests the dissonance between cultures--the flare-ups and gusts of Western strings set against Vân-Ánh Võ's measured, airy and delicate tones. Sounds converge and diverge; their players become factions physically separated by Eckert and the set the way Thompson's chopper, on its second descent, kept murderous soldiers from reaching potential victims. The set at the center of it all depicts a sterile hospital room: ceiling-to-floor white curtains, a couple of chairs, a table covered in prescription bottles. The curtains serve as screens for the ghostly shadowplay of helicopter blades and the gleam of wind-blown grasses. Here Eckert gives voice to an aging Thompson consumed by ugly memories and dying of cancer. The heroic pilot died in 2006.

Once Eckert parts the curtain and emerges before us, haunted and restless, the work maintains tight focus on him; the singer maintains his own tight grip in a performance of exacting force and endurance. He is almost never not singing, compulsively remembering, compulsively reporting, dreaming, desiring escape from the body, desiring, ironically, to share with his remembered young son the beauty of flight. He hallucinates his testimony as a game show.

Once you land, there's no turning back.... You can't just hover.

At one point, the bewildered Thompson asks, "How has this happened?" It's a question with no one good answer--or far too many. It resonates and disturbs as much today, in the Age of Trump, as then, in the Age of Nixon.

Kronos Quartet:
David Harrington (violin), John Sherba (violin), Hank Dutt (viola) and Sunny Yang (cello)

Direction, set design: Mark DeChiazza and Rinde Eckert
Video projection design: Mark DeChiazza
Lighting design: Brian H. Scott

My Lai has one final performance, tonight at 7:30pm. For information and tickets, click here. For information on other BAM Next Wave events, click here.

BAM Harvey
651 Fulton Street, Brooklyn
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BAM Next Wave: Reggie Wilson's NY premiere of "CITIZEN"

Reggie Wilson/Fist & Heel Performance Group
performs Wilson's CITIZEN at BAM Harvey Theater.
(photo: Sally Cohn)

Early on in CITIZEN--new to New York from Reggie Wilson/Fist & Heel Performance Group for BAM Next Wave at BAM Harvey--a striking French Romantic portrait of Jean-Baptiste Belley momentarily appears on the backdrop behind one of Wilson's dancers. Belley, born in Senegal, was a slave, a rebel in Haiti's revolution and, during the French Revolution, was elected to the National Convention. If you knew none of those facts, you'd surely guess at the import of a Black man, in 18th Century dress, meriting such painstaking and forceful portraiture.

Belley's image remains visible for only a short time, long enough to impress but not long enough to get you thinking too much about his history. Wilson--ever the researcher and voyager--has taken care of all of that, including making the trip to Versailles to see the actual painting. He has also thought about race and what it means to find oneself in a society not perceived to be home. ("What does it mean to belong, and to not want to belong?") But he sets the viewer free to be with the work without necessarily having to puzzle out any of that.

While we cannot un-see Belley, and he might continue to haunt some of us, everything else we do see appears to atomize Wilson's research and musings. They spread out and form a texturous fabric of clear, repeated gestures and movement patterns sometimes assigned to specific performers and ultimately, beautifully, taken up by all. The work runs just a bit over an hour and, in that time, we're immersed in and transfixed by this living texture that signals individual portraiture without ever delivering big, obvious narrative details about characters, even in Altor Mendilibar's poetic cinematography. I got caught up in Anna Schön's sinuosity and toughness and wondered how Wilson picked that particular combination of traits to highlight in one body, but I would never expect to pinpoint their exact source or his reason.

It's as if Wilson beckons us close to a painting to look at the minute brush strokes and maybe even the chemical and molecular makeup of the paint because, after all, that's how the artist delivered the goods, how the artist told the story. That's how Wilson tells his story.

Along for Wilson's latest postmodern journey into the African diaspora are some adroit and interesting performers in addition to Schön--Yeman Brown, Raja Feather Kelly, Clement Mensah and Annie Wang.

Lighting: Christopher Kuhl
Costumes: Enver Chakartash

CITIZEN runs through Saturday with performances at 8pm. For information and tickets, click here.

BAM Harvey Theater
651 Fulton Street, Brooklyn
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Forward and backward and forward with John Jasperse

Heather Lang and Stuart Singer
in Remains,
a new work by John Jasperse
(photo: Grant Halverson)

Dance is that art where real bodies, usually in real time, put themselves on view and on the line. But linear time passes, and dance slips away--from place, from sight, from memory. (Well, maybe not completely erased, but memory files can get a bit corrupted.) You want to clamp your arms around something so courageous and so poignant. And, no, you can't.

A new work by John Jasperse for BAM Next Wave pointedly evokes these thoughts and feelings. It is called Remains, both a noun and a verb. That still, prone body we first see lying in the middle of BAM Harvey's stage, cheerfully dressed in glitter? Definitely no longer moving. How strange that the audience--silenced by what appears to be the beginning of the dance--is compelled to gaze at a fallen body while house lights remain up, ushers remain at their stations, and a flurry of latecomers find their seats. And even then. And even then.

Like other folks at last night's premiere, I kept craning my neck to watch the puzzling scene around me. Finally, one usher made a circling gesture in the air, and her fellow workers melted out of sight. If I recall, it still took a while for the lights to dim. And even then. And even then.

Velvety black, like night, surrounded that isolated, illuminated body still at rest on the stage.

The stage reappeared. Throughout the hour, the atmosphere stayed largely serene, sometimes devoid of sound. A minimalist set, parallel lines in the floor pattern, lighting and infusions of music introduced lightly-applied coordinates, giving the dancers a place to be, but most of those coordinates could be altered. Even the board-like panels that hugged the space took on different tones and temperatures of yellow. And the well-crafted dancing, loosely sourced in Jasperse repertory and influences, appeared to channel a flow of imagery from centuries of visual art as well. The game was in allowing that flow--so well conveyed in the dancing--and following it, savoring the things you recognize or think you recognize, then letting them go.

This company--Maggie Cloud, Marc Crousillat, Burr Johnson, Heather Lang, Stuart Singer and Claire Westby-- is a blessing to Jasperse, and the opening night audience responded with loving, palpable warmth, much deserved.

Music: John King
Additional music: Javier Peral and Die Antwoord
Visual design: John Jasperse and Lenore Doxsee
Costume design and construction: Baille Younkman
Lighting design: Lenore Doxsee

Remains continues through Saturday with performances at 7:30pm. For information and tickets, click here.

BAM Harvey Theater
651 Fulton Street, Brooklyn
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Jasperse's "Canyon"

Click here to read my Dance Magazine review of John Jasperse's Canyon at BAM's Next Wave Festival, November 16-19.

Lost in the "Haze"

Click this link for my Dance Magazine review of Beijing Dance Theater in Haze at BAM's Next Wave Festival.

Vollmond: only love can make it rain

Vollmond. Opulent. Audacious. Sure-footed. Funny. Poignant. Elegant. Dashing.
Generous. Unforgettable. Pina Bausch.

Tanztheater Wuppertal Pina Bausch

US Premiere of 

Vollmond (Full Moon)

through October 9

2010 Next Wave Festival

BAM Howard Gilman Opera House

Peter Jay Sharp Building

30 Lafayette Avenue, Brooklyn

information, schedule and ticketing
directions

Chunky Move at BAM reviewed

My review of Chunky Move at BAM is available now on DanceMagazine.com.

An Alpert Award for Reggie Wilson

Hearty congratulations to dancer-choreographer Reggie Wilson, winner of the 2009 Alpert Award in Dance. Wilson, and frequent collaborator Andréya Ouamba of Senegal will present the premiere of The Good Dance -- Dakar/Brooklyn during this year's BAM Next Wave Festival.

2009 Alpert Award in the Arts