A first draft implies a piece of creative work that moves an idea from start to finish, but lacks editing or has not yet been perfected. In Winifred Haun & Dancers sixth-annual “FIRST DRAFT: New Work by Chicago-Area Dancemakers,” a stylistically broad collection of choreographers took the bold step of presenting their brand new ideas to an audience at the Ann Barzel Theater. Saturday’s program mixed early career choreographers (many associated with Haun’s company) with veterans in a grab bag of nine dances.
The vulnerability of putting new or unfinished works under stage lights and before an audience creates an opportunity for said audience to be a part of the creative process. While some pieces presented were nearly ready to go, others will benefit from further development. With the exception of a playful jazzy duet from Darryl K. Clark, the same dancers appeared throughout the evening, striking as more of a dance company concert than a varied showcase.
Haun’s densely layered and sculpted “Tell Me How it Ends” assumes an opening tableau from which eight dancers toss and fall across the stage. Purposeful use of height and depth make it impossible to see all that is going on, inviting a deeper look and providing something unique for each viewer. Distinct moments do pop—a dancer being tossed in the air and caught at shoulder height, a body swaying and bending as if being poked by an invisible hand, a figure standing on the back of another on all fours, then sinking slowly like a statue on a human elevator. As the title suggests, the only link that may be yet missing here is between the mounting tension and the ending in which the group retreats to the wings, leaving one lone dancer in the dimming lights.
Soloist Dillon Zamora’s taut, idiosyncratic movement style explores the devastating effects of air pollution. In the self-made, self-performed, “Coal Oil Poop and Death,” audible breathing and vocal sounds mixed with violent chest pounding provoke curiosity. The humor (so rare but so welcome in dance) of repeated belching, farting and butt wiggling turns abruptly into a struggle to breathe. Drama and comedy meet in this effective study, which feels ripe for further evolution.
African flat-footed rhythmic lunges seamlessly swirl into balletic attitude turns as Regina Charly-Beth, in “Traces from Before,” blends diasporic forms with contemporary dance. By doing so, she brings a simultaneous connection between history, tradition and the present. Although some dancers struggled to embody the grounded rhythmic torso isolations that blend into smooth sweeps and long lines, the intention of “Traces” remains clear. Bounding explosively onto the stage, holding hands and stooping while others literally jumped over them, Charly-Beth shapes a growing, vibrant community. Infectious energy and timeless style make this work already feel resonant and complete.
“Anxiety Between the Counts,” a group work from Terrence “TJ” Morris, takes a clever theatrical peek at the self-judgement and impostor syndrome that can come along with studying dance. Akin to cartoon thought bubbles, voiceover in the soundtrack describes inner feelings of apprehension and worry while the dance cluster shifts between pedestrian gesture and segments of dynamic hip-hop movement. From unison body ripples, jumps, strides and crossed arms, the occasional soloist emerges to challenge the pack. Morris’ point seems to be that competition is self-generated, which in this investigation becomes both fun and effective.
Moving through a playful dance conversation duet, Clark’s “Redeux” is filled with peppery bravura turns and jumps, open heart hand gestures and fancy footwork. Its most compelling moments come late, with the slow stillness of a dancer simply standing, looking slyly beyond her gently curved arm. Vernon Gooden’s relentlessly athletic duet, “Dear Rosie,” yearns for more relationship between its dancers. Julia Schaeffer’s “In the Waves” has the makings of a gentle lyrical group work, although Schaeffer has yet to discover her own voice. Robin Davis’ military-looking group work, and Eona Carey’s push-pull duet scratch the surface of unique ideas and are ready for deeper study. Here’s to hoping that all of these brave artists have the opportunity to continue exploring and shaping these new works.
Winifred Haun & Dancers presents “FIRST DRAFT: New Work by Chicago-Area Dancemakers” Feb. 28 and March 1 at the Ann Barzel Theater at Visceral Dance Center, 3121 N. Rockwell Ave . For more information, check out the event page by clicking HERE.
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