March 9, 2014
Current Sessions Volume IV, Issue I at the Wild Project showcased seven artists Friday evening, half of the group of 14 whose work would be shown during 4 programs. The curated program had a focus on dance, multimedia, and theatre. Among the diverse group, standout work was presented by Catherine Correa & Breton Tyner-Bryan, Kate Landenheim, Brendan Drake, and Guest artist Mor Shani & Paul Sixta.
Correa and Tyner-Bryan’s duet “Un Tanguito Caulquiera,” explores the romantic relationship of two women in the 1930’s. Stylized in dress and movement, the pair shared tender moments that briefly took us through their rushed narrative. The difficulty of dance with a theatrical base is that often the main focus is redirected with frivolous acting and gestures. Story and connection is portrayed when the movement actually begins. It’s in the grip of the hands, the eye focus, and the subtle moments when the emotional torment the two women are experiencing becomes clear. In the last moment, Correa in tears walks away, as Tyner-Bryan catches up with her, gently slipping her hand into Correa’s trench coat pocket. This was the story. The rest is just excess.
“Laurelai Emerges”, choreographed by Kate Ladenheim and danced by Shay Bares, is an excerpt of HackPolitik. The solo inspired by transgendered Internet activist Laurelai Bailey, has Bare’s in socks, black socks, and a simple blouse, and make up which resembled that of the band Kiss. Bares is captivating, his fluid quality and sad but intense eyes carry the weight of the piece. He stands foot beveled, glaring directly out to the audience and brushes his hair from behind his shoulder. A chilling effect.
Guest artists Mor Shani (choreographer) and Paul Sixta (filmmaker) presented their film “Love-Ism.” A look into the “human experience of intimacy”, various couples are seen kissing, hugging, and moving in a white space. At first it’s a young girl and presumably her father. Their “dance” is sweet; she pushes him, walks over his body and plants kisses. This later morphs into the same guy with a woman- falling into one another and folding to the floor repeatedly as various states of dress. The work is intriguing and smart; it’s another indication of movement translating successfully into the film genre.
The last work of the evening, “Mapping,” from Brendan Drake, had three women, two in blue dresses and another in a high waisted floral skirt with a tucked in white button down. It’s two against one, as Drake cleverly lays out a playful game between the ladies. Jackie Nowicki is quick in her movements and eloquent in her execution of the steps. She is powerful yet complimentary to the sophistication of Flannery Houston. Humor makes for a great ending.
EYE ON THE ARTS, NY -- Bailey Moon