So, of course, "Divos" debuted Thursday night as one of several shows to kick off the 13th annual festival. At Theatre on the Square,
|Oneiric fantasy: Missy Thompson's "Dream On"|
(Photo by Chris Crawl)
The songs' rhythmic drive and musical phrasing naturally generate much of the choreography, but the choreographers also have in common an intense interest in how lyrics can guide dance expression. This is clear from each choreographer's spoken introduction to his or her creation — statements that provide the audience with insights into the personal sources and motivations behind the program.
In other words, the divos were celebrated mainly to the degree their music had something vital to impart in dance terms. From Aerosmith's "Dream On" (Missy Thompson) to Rod Stewart's "I'll Stand By You" (Stuart Coleman, in a piece titled "Surround Yourself"), the program unfailingly added an extra dimension to the songs.
"Dream On" rested on the theme of recurring dreams, mostly disturbing, and thus was replete with floating and falling movement, as well as postures of apprehensiveness and confusion, some as if airborne, others grounded. "Surround Yourself" used the full company to reinforce the virtues of group support. Its intricately coordinated, billowing language put stress on cooperation and rapport, the individual drawing sustenance from the ensemble. A particularly striking passage had the company unfolding from a tight circle outward, yielding to a solo in the center. It was like time-lapse photography of a flower in transition from bud to blossom.
Positive energy also was held up in Mariel Greenlee's "Keep Faith," to music of George Michael. There were churchy moments at first, alluded to later, with stained-glass lighting and prayerful postures. But faith was also addressed in less transcendent ways, in a manner that expertly bridged the meaning of faith from something remote to something near at hand. In both cases, belief in the unseen is the common denominator, and "Keep Faith" spoke particularly to the reservoir of mutual trust upon which dancers necessarily draw.
Romantic devotion was a keynote of Paige Robinson's "You Take My Breath Away," the soaring Queen vocalism providing the cue for intense interaction among the six dancers. The same number of dancers was used in a more polarized fashion by Timothy June, setting Johnny Cash's searing "Hurt": Each of three fully visible dancers has a demonic masked partner, making the theme of hurt vividly both internal and external to how we live our lives. The demonic side seemed to score a final victory with a black hand over each anguished face.
Jillian Godwin set the longest piece, a mash-up (mixed by Mike Lamirand) of four Led Zeppelin songs. "Zeppelin" was a real tour-de-force for the troupe's women, the shift among songs complemented by costuming as well as different choreographic dialects. The full ensemble coalesced for the finale. At that climactic stage, the potentially problematic guitar solo — talk about divos! who's more a divo than a rock-guitar god? — was neatly handled with fluid solos and duos for the dancers, yielding to re-emphasis on the ensemble at the end.
As with the whole show, the music was never allowed to swamp the inspiration behind the choreography nor the flair with which it was executed. Roll over, divos; tell the divas the news!
|A Zachandzack hit: The shared good cheer of "The Gab" girls is just for show.|
The evening thus launched, my next stop was at Angel Burlesque's "Glitter Emergency" at Firehouse Theater. Because this is a last-minute replacement for the originally scheduled act, which withdrew, and with technical troubles dogging the performance, I'm foregoing commentary about the show.
The last act for me opening night was "The Gab," a production by the wizardly team of Zack Neiditch (writer/director) and Zach Rosing (producer/video designer), riffing upon the female talk show of longevity and notoriety called "The View." The rapidfire pace is set at the beginning as Maureen (Devan Mathias) and Alex (Chad Woodward) fuss and fizzle just ahead of airtime to make sure everything's all right. Of course, it isn't.
The competing egos of the star panel have ratcheted the show's tension up to unbearable levels, which means that production underlings like Maureen and Alex have to bear it all, while keeping Jim (voiced by Rosing), the show's director high up in the booth, the almost happy lord of all he surveys. Every diva around the oval table has more issues than National Geographic — and they are just as hard to get rid of.
Rosing and Neiditch dependably fashion productions whose technical adroitness matches their artistic aplomb, and "The Gab" extends the partnership's short, but already illustrious tradition. The cast seems to find the spat-filled scenario totally energizing: Jenni White, Vickie Cornelius Phipps, Nathalie Cruz, Betsy Norton, and Ericka Barker inhabit their characters exuberantly. There is generously proportioned wit, snark, and slapstick throughout the show.
A large screen above the stage replicates in-studio video monitoring, with flashes to "The Gab"'s upbeat title page heralding the next topical segment, for which the ladies hastily compose themselves. Gradually but inexorably, the fragile garment of the hit talk show unravels. The camera's bright lights, nourishing the hothouse plants of daytime stardom, can't forestall the hilarious plunge toward "The Gab"'s dusky extinction. The conclusion resembles Alexander Pope's "Dunciad," which ends:
Lo! thy dread Empire, Chaos! is restored;
Light dies before thy uncreating word:
Thy hand, great Anarch, lets the curtain fall;
And universal Darkness buries all.
Fortunately, the "uncreation" of "The Gab," the fake TV show, mirrors upside down the masterly creation of "The Gab," the surefire 2017 Fringe Festival hit.