What does it mean to dream? How does dreaming help reshape our perspective? And in what ways can dreaming help recenter oneself? Alluvion Dance Chicago uses these questions to explore the liminal space that dreams provide in their performance of “we'redreaming.” Premiered at the Edge Theater on April 19, the program presents four new experimental works choreographed by Kayla Castellon, Morgan Cutler, Johnny Huntoon and Sarah Sterling.
As the company enters its 10th season, Alluvion Dance Chicago used the program as a platform for introspection, reflecting on its past and considering its future trajectory. By framing the concept of “we’redreaming” to include and refocus on the idea of “redreaming,” the works presented serve as a vehicle for considering and reimaging Alluvion’s identity and aspirations as a dance company for the upcoming decade.
“Alchemy,” choreographed by Kayla Castellon, a Florida-based choreographer, explored the profound transformations the human body can undergo and examined the consequences of these physical changes. Set to the forceful score of Aeon De La Cruz, which utilized heavy bass drums, scratching metallic blades, EDM-inspired beats and futuristic sci-fi sounds reminiscent of an alien spaceship, the music established the tone of a science experiment gone wrong.
Dancers Sarah Bodony, Ryan Dick, Cassie Stahnke and Kristen Whalen reflected the music's twisted ambiance through abrupt, jerky movements. They manipulated and forced their bodies in unnatural ways, as though the subject of experimentation—convulsing with wild abandon as if jolted by electricity, crawling slowly across the stage on all fours like a predator and assuming sacrificial-esque group poses with a frantic, yet tightly contained, energy.
The chaotic movement continued with deep lunge slides and grasping arms as the soft yellow glow of the stage lights gave way to a deep, cerulean blue. The soft futuristic noises that began the performance filled the space again as the dancers paused to take a breath, gaze upward into the new light and find a brief moment of peace.
With deliberate slowness, they resumed their tight, sacrificial group poses from earlier, exuding a similar sense of frantic intensity even though the quality of movement slowed. Ending the performance with dancer Ryan Dick sprawled across the back of another dancer in a deep backbend with arms stretched limp toward the audience, the juxtaposition between the tranquil atmosphere and the haunting pose suggested the irreversible toll inflicted on their bodies and reflecting the damaging behavior of pushing oneself to their limits and experimenting beyond their capabilities.
"we'redreaming," with Alyssa Athens; Photo by Michelle Reid
“Inside of the After,” choreographed by Sarah Sterling, explores the confusing nature of the moments after a life-changing event. The performance began with a loud, overbearing sound that reminded me of a faulty fire alarm stuck in a state of buzzing. Similar to “Alchemy,” this piece embraced its overbearing music and produced movement that mirrored the disorienting sounds.
The combination of music and dance reflected the confusing, and often lonely, experience of being stuck within the aftereffects of a pivotal moment in time—whether it's processing trauma, losing a loved one or the experience of growing up, this piece spoke to the universal feelings of coming to terms with oneself in times of significant change.
A lovely duet, “&, Then,” choreographed by Boston-based Morgan Cutler, performed by Kaetlyn Jeffries and Lauren Smith, provided a nice relief from the intensity of the previous performances. With a pink glow covering the dancers and a song that built into an inspirational chorus of sound, the movement centered the relationship between the dancers as they supported and held each other with strong feelings of friendship or sisterly love—often holding hands, walking back to back, uplifting when another falls and using one another to elongate movement and lines.
“The Most Beautiful Garden,” choreographed by Founder and Artistic Director, Johnny Huntoon, explored the bittersweet feelings of being separated from a loved one. With the focus being on the connection between dancers Ryan Dick and Lauren Smith, the piece explores the relationship and internal turmoil experienced by Dick after the loss of his partner—A sad experience that reminds the audience how the connections we make are forever memorialized in the memories and spaces shared, even if we are too close to realize it in our moment of heartache.
Dicks journey through loss was a tragic one. Originally dancing in tandem with Smith through soft touches and gentle hugs, she soon departed, sending him spiraling into a state of mania—jerking his arms and legs, snapping his neck and falling to the ground in distress. In the end, Dick succumbs to his sorrow, laying on the ground one last time, wallowing in his grief. It's a heartbreaking scene, illustrating the consequences of being unable to let go and appreciate what was once cherished. The garden, now imbued with memories of the relationship, remains a place where the beauty of those moments can still be cherished if one is only willing to let go.
While the movement throughout the program was enjoyable in its quick, experimental nature, I found the music loud at times, especially with the frequent use of ear-piercing sounds and heavy bass. Additionally, there was limited information provided about the individual works and more context on each piece would have helped determine the intention of the choreographers more accurately.
Even with limited information, the program offered a peek into what Alluvion Dance Chicago is aiming to “redream” for their company’s future. While the live performance of ”we’redreaming” at the Edge Theater was only for this weekend, a pre-recorded version of the program is still available to purchase on the company's website.
To learn more about Alluvion Dance Chicago or to buy the pre-recorded performance of “we’redreaming”, visit alluviondancechicago.com or click the company link below.
