Choreography by KT Nelson
This was a sweet and magical night. I took my daughter and she gasped when the Velveteen Rabbit jumped on the stage. I spent most of the show watching her watch. So for me, this dance mattered because it mattered to my daughter. I was reminded that sometimes the best performances are about how they create experiences that linger. This was definitely one of them.
Choreography and Direction by Christy Funsch
I love watching dance that makes me think. I love watching dance that enables conversation about concepts and politics. I love watching dance that surprises me. The evening’s five pieces did just that.
Funsch’s new work explores the blurriness between effort and artifice in an odd, but compelling program. The different sections (Prelude, Part I; Artifice; Path; AfterPath; Part II, Effort) constituted an elegant string of ideas about effort and artifice as practices and as ways of constructing and perceiving the world. The clarity of the movement – the dancing and the choreography – was further realized by the improvised sound, music, and lighting. Together these elements came together to further demonstrate how effort and artifice can sometimes be tricky.
For me, what really brought this nuance out was Funsch’s use of actors on the stage. Two women were set-up in the back, sitting at a conference table. During Prelude, they were actively watching the two dancers (Funsch and Nol Simonse) and taking notes as if they were judging the dancers. Like the judges during a dance and ice skating competition. During Part I: Artifice, the two actors sat still, not taking notes and looking straight forward. They left the stage for Path and AfterPath, returning to the table for Part II: Effort. In this section, they faced each other and did so the entire time. The interplay between the movement, sound, and acting clearly demonstrated that we don’t always see the artifice as artifice or effort as effort – who are we to judge.
Funsch performed Daniel Nagrin’s 1965 solo Path and is the first woman granted permission to do so. Funsch noted that while working on Path “[she] wondered about creating a container for it that could highlight what to [her] is its celebration of ongoingness.” I sat and watched in silence (there was no sound or music) as Funsch held a long wooden beam and moved diagonally across the stage. The movement sequence was simple, a kind of modified jazz square, that was repeated until she reached the corner. I felt a sense of wonder as I watched Funsch with determined focus hold the space (and the wooden beam) and our attention. Was this “pure” effort? Did the piece articulate some kind of truth about the nature of work? What about artifice? The evening ended with an insightful Q & A with all the artists that could have been longer.
I left the theater thankful for an experience that got me thinking about how we see and experience effort and artifice in what many are calling a post-truth world.