Art, audiences, connection and hope… These are the tenets laid out by PARA.MAR Dance Theatre. Artistic Director of PARA.MAR Dance Theatre, Stephanie Martinez, and a list of top-notch choreographers — Hélène Simoneau, Yin Yue, Xavier Nuñez and Jennifer Baldwin — present repertory works in “/ v. anthology /,” the company’s fifth-anniversary celebration at the Studebaker Theater from Sept. 20-21. Ambient soundtracks and colorful yet non-obtrusive lighting design by Julie Ballard, Jamie Fox and Kaili Story create a dreamlike labyrinth that is a pleasure to get lost in.
The highlights of the show are two works by Martinez, “Dos Lados” (2022) and “Kiss” (2020), contain the most variety of movement and music. “Dos Lados” (Two Sides) begins with broad-shouldered men emerging from a smoky, inky darkness with the women of the company slung over their shoulders, like primal cave dwellers capturing a human prize. But these women are no captives, and with liquid rib cages and rubber spines, they slither from their partners’ grasp to the sound of a tribal drum beat and pizzicato strings. One at a time and with partners they crawl nimbly like jungle cats and flap their arms while gliding like lanky birds. The work ends as it begins, with half the ensemble burying their heads into the chests of the others as they descend back into black.
"Kiss," by Stephanie Martinez with Justin Rappaport and PARA.MAR Dance Theatre/ Photo by Todd Rosenberg
“Kiss,” developed during the COVID pandemic, is a projection of a dancer’s fantasy during the COVID lockdowns—throwing a wild party! Martinez invokes the style of a courtly ball, with dancers wearing white necks ruffs and seated at either side of the floor; meanwhile, a disgruntled Prince (Justin Rapaport) surveys the parties’ attendants and meanders through the background. Mozart’s “Eine Klein Allegro” ushers in a saltatorial party dance as guests break off into solos, pairs and groups. Their faces smile politely as in comes the prince borrowing jazz dance moves like over-the-tops and wandering into a dream ballet like Gene Kelly in “Singin’ In The Rain.”
The most powerful moment in “Kiss” takes place between dancers Gabrielle Sprauve and Chris Bloomas as they lock lips and perform long phrases of twists, spins and leaps while maintaining facial contact—the technique behind this segment is absolutely astounding! “Kiss” was the first work ever set on the company by Martinez and is still a prime example of the strengths of both choreographer and company.
“So Soon My Love” by Simoneau has dancers in grey billowing and swaying like the tentacles of a sea anemone. A shocking twist occurs as serene and ambient music is replaced by an ominous soundtrack, and the ensemble becomes rigid and robotic, with arms that spin like propeller blades on a wicked machine. As in nature, harmony is eventually restored as the ensemble regains their anemone-like composure and gradually calms down, pressed together and undulating like lungs catching their breathe after a terrible fright.
Jennifer Archibald’s “Walk” frames the company of dancers in deep red hues of light, with dark shadows outlining every bulging muscle. They look like powerful combatants spoiling for a fight! Repetitive arpeggios from a piano swirl them one at a time in and out of the scene—some engage in dance-like martial arts. Later, a master trains their pupil to pull back the string of a bow and let an arrow fly. To the sound of cascading rain sticks, legs begin twitching like hands on a giant clock—time is ticking down, and soon they come for… You!
"Trace of Grace," by Xavier Nuñez with Gabrielle Sprauve and Chris Bloomas/ Photo by Todd Rosenberg
A touching duet by Xavier Nuñez, “Trace of Grace” features dancers James and Laura LaRussa, and it is a tribute by Nuñez to “anyone who has lost someone to suicide.” Each dancer spends generous amounts of time on their knees, heads bowed in contemplation or crawling across the floor. There are several moments where Laura leaps onto James’s back and torso — James remains standing perfectly still and unmoved; the great physical demands of such a technique are outweighed by its melancholic metaphor. They take turns twisting and writhing, and despite their sadness raise each other’s spirits and bodies up into the bright light of hope.
“Stay A Little Longer” is a frenetic piece by Yin Yue performed solo by Amanda Sachs. Sachs struggles against the invisible bonds of a strait jacket, cutting themselves loose, their unbounded arms flying around their body like agitated hornets. Their upper body swings like a pendulum, eyes staring intensely forward; then, their arms take off again, like a boiling planet being harassed by rogue satellites from outer space. “Stay A Little Longer” is a figurative shot of espresso!
My only critique would be in the variety and tone of the work presented. Every piece relied on similar ambient soundscapes—infinite Phillip Glass-inspired piano arpeggios, scratchy two-note violin intervals, the same thump-thump-thump of minimal percussion (even the pre-show and intermission supplied an additional 30 minutes of “masseuse-rock”). So much ambient music is fatiguing; however, I believe that the point of the performance was not to put on a “proper” show, but to highlight the company’s best works regardless of how they fit together as an expression of the company’s curriculum vitae. In that respect, the evening was a tremendous success.
Martinez & Co. have something special on their hands. I would put the strengths of these company dancers against any in Chicago, possibly abroad. Martinez also has a knack for drawing in talented choreographers, and this hors d’ oeuvre of repertory work felt more like a main course—delicious! At only five years old, PARA.MAR Dance Theatre has accomplished amazing things, and makes one interested to see what exciting worlds they’ll be exploring next.
For more information on PARA.MAR Dance Theatre, click the company link below.
