Choreographers Mariah Eastman and Alix Schillaci took Color Club by storm on May 17-18 at 7:30pm. I admire both creators for such clever use of the space. For those unfamiliar, there are no wings in the venue, which lead to creative and compelling choreographic choices while showing performers staying in character.
“Inclined To Decline” by Mariah Eastman deals with the harsh truths of getting mainly “no” in the dance field. Eastman's submersive experience begins upon entrance. While seated, there are various rejection letters tapped to the back of chairs.
I sat beside my friend - a fellow dancer - who could only read so much because it hit so close to home for her. Because the dance does bring performers in close proximity to viewers, you're forewarned that paper will be thrown, and can go flying in your direction.
The work opens with dancers Blake Campbell, Peyton Jones, Madison Meade, and Mandy Milligan rushing on stage to pick up crumpled paper on the ground. Upon reading one aloud, we learn that these are in fact rejection letters.
Dancers illustrate all the ingredients for engaging modern dance. Inversions, floor work, partnering, duets and a gorgeous balance of movement with dialogue (readings of letters) helps illustrate the complexity of emotional responses to an artist's craft being rejected.
Eastman's use of having dancers exit and enter through the audience was an artistic choice I thoroughly enjoyed, as it made the space feel more intimate.
Aside from having the rejection letters read, moments of choreographically rejecting the letters manage to beautifully blend both humor and empathy in a way I've never seen. Whether a dancer or not, everyone has dealt with rejection, and it can be discouraging, disheartening and frustrating.
Humor can also be found in the shuffling and pitter-patter of feet, which the ensemble usually executed with sharp linear arms in a close knit square formation. Everyone talked at once about the movement as if in rehearsal, a great moment to laugh during a dance about a serious topic.
This, however, doesn't leave the audience hungry for technical movement. There's plenty of lifts, partnering, hinges, seamless transitions of number of performers on stage, hearty distal initiations and ensemble work. A colorful collection of music (from “I Got Rejected Again” by Sometimes Sweetness to "Mystical Love” by MusicLFlies) also enriched the experience.
Letters are crucial to the work, but Eastman goes beyond reading and throwing them. Aside from conveying emotional tone as mentioned, a dress made from rejection letters is worn. She eventually tears and clutches at it, causing it to fall apart, all while more rejections are passed out.
"Back in the Saddle," with Maddy McCarthy and Ashaand Simone.
Reading the letters also leaves us with one of the most powerful moments in the piece and sums up the essence of the work gorgeously. “ I reject your rejection, “ says Eastman, “and I'll see you on stage.”
“Sunset's That Way” by Alix Schillaci opened in pitch black as fog consumed the stage and a harmonica played.
The overall feel is made to feel like a Western movie. The space illuminates and dancers pace around as if to square off in a classic duel. Cowboy hats, denim vests, ponchos and fake mustaches adorn the bodies hilariously.
The work offers many moments of memorable monologues. Our first one solidifies the comedic elements needed for the work to shine the way it does.
Talks by Slinky Sue Maria Blanco of being destined to be a Western movie star echoed into the night. That's until they are interrupted by a ringtone playing “My Humps” by Black Eyed Peas. Answering the phone, they remove themselves to have a chat with their mother.
All the while a new set design is being built complete with a bar, popcorn station, and platform with a bonfire and sign that says, “Somewhere on the outskirts of Dance City.”
One of the performers proceeds through the (time consuming) steps of making popcorn, and 4 dancers face her while observing her work. We later discovered the name of the snack makers, dancer Sarah Ellen Miller.
Thus far, humor has been the main focus. Schillaci demonstrates a transition into sentimentalism so effortlessly, you'd miss it if you blinked!
One Westerner, Indigo Untouchable (Ashaand Simone) breaks the fourth wall by facing the audience and shares personal experiences and their journey with feeling small and PTSD as a queer trans person.
The crowd is responsive with cheers, applause and support that he can stand proud before us. They also had us join in on affirmations in a call and response style which created a sense of togetherness and being part of the piece.
I can't detail all the monologues, but I want to thank Schillaci for allowing not only Simone but also Emily Loar, Leana Welker, Maddy McCarthy, Maria Blanco, Reign Drop and Sarah Ellen Miller space to share intimate parts of their lives.
Each monologue was followed by stunning solos. The variety was enriching for the eyes. As performers showcased athleticism, playfulness, seduction and freedom, it helped deepen the understanding of the soloist on the most human level.
In a parade of whiskey shots, popcorn munching and banana gobbling, bodies danced in celebration of self, the stage swallowed in fun and euphoria. Even the official popcorn maker got dosed in popcorn as if it's the Nickelodeon Slime!
What makes “Back In The Saddle” so much fun is that you have to be there to fully sink your teeth in. The interactions, use of staging/space, lightning, props and use of speech allowed me to truly feel the emotional waves during the evening length program.
Mariah Eastman and Alix Schillaci take different avenues, but both manage to make you laugh and get emotional, and had me leaving feeling light. As mentioned by Schillaci “Bitch I'm limitless.”
For more information about Darvin Dances, click the company link below.
