Performance Opportunity Project (POP) Presents WOMEN IN MOTION Review–  BOLD, DARING VOICES

We are hypnotized. The dancers attention to detail, from the gaze outward into space, down to the rippling through the metatarsals on bare feet, is magnetic, in this reviewer’s opinion. The space is charged. As an audience member you find yourself keeping still, holding your breath, as you wait to see if they will ever move out of the painstaking controlled movement. And, they do. The soundtrack switches to live accompaniment by Jay Weissman,. He provides ambient noise as the duet starts to upheave a pile of clothes sitting center stage. The pair dress in winter jackets and their dancing begins to shift into fluid, rippling movement- reminiscent of a changing kaleidoscope. It transitions to Stern circling Dixon as he stations himself center among the pile of clothes and discarded red ribbon. He spastically throws the ribbon and slew of clothes up in the air again and again. The fabric becomes a hypnotizing living thing comparable to an oil painting. The colors and textures bleed into one another, and it becomes hard to distinguish where one piece of cloth begins and another ends.

From there comes, The Centaur Show, choreographed and performed by asubtout (Eleanor Hullihan and Katy Pyle). Originally created in 2007, the duo brings back this “New Age fantasy death metal poperetta about two centaurs on an interstellar voyage to save their (non) binary star system from imminent supernova”. It begins in the dark with whirligigs sounding through the air, and blue light emanating from moving bodies. Lights turn on to reveal the Hullihaan and Pyle clad in centaur getup. Fur encases their legs, along with luscious locks for a mane and long tails attached to their backsides. As they gallop and neigh, the audience can deduce that the piece about to unfurl is a farce.  It does not disappoint. There are plenty of tongue and cheek moments, including pulling each other's tales, placing hand to ear as if listening, landing in splits and looking at the audience for a reaction, breaking out into song + dance about being dreamer who is lonely.

A particular scene that got an enthusiastic audience reaction was when the women abruptly stopped dancing and pulled onstage a microphone, keyboard, and crystals. They continue to rap about the elation of having found the crystal. Repeating to the audience “crystal” in various tones and deliveries. But as they place the crystal in a bowl of water, it is revealed that the magical crystal is, in fact, only a bar of soap. One woman dunks the soap in water and proceeds to wash her hands with the soap crystal, as they break into song about being lied to. Leaving the make shift station they head back onto center stage beginning to dance with more vigor. The duo sings, “Fuck the Blue Crystal!” as heavy metal plays on in the background.

It is a lot of information to take in, in this writer’s view — women dressed as centaurs, raging at the top of their lungs, the loud raucous music, the storyline of finding the crystal with magical elements. Yet these peculiarities all tie into a piece whose avant garde approach is refreshingly received.

The work in progress, KALLAX, choreographed by Same As Sister (Briana Brown-Tipley + Hilary Brown-Istrefi) closed the evening with a piece that followed one woman’s journey into fame. This idiosyncratic and progressive piece starts off with an antagonist (Leigh Atwell) standing upon a pedestal.   The antagonist reacts to the music, and a man clad in boxers modeling to her left. Behind them, an Ikea video plays highlighting the decorated rooms on display. This image of the dancers and media plays on repeat until the protagonist, the woman on her quest, enters center stage. She is dressed in mesh black leggings and a top, posing sexually against the backdrop of Ikea. Her silhouette against the media is stark as she bends her body and takes on different shapes. As if consumed by her own image, she continues to grip her body while posing for the audience.

She then re-emerges, donned with the embellishments of a platinum blond wig, silver boots, and a red cape -- these material things signifying her advancement in stardom. She lip syncs and dances performing for the audience, while the antagonist and her lackeys, portrayed as masked anonymous people, stand in the shadows. The lackeys engage with her, gesturing aggressively, trying to touch and kiss her. They seem to be showing the trials and tribulations that come with being celebrated. The model from the beginning resurfaces, and helps to free the women from the endangerment, acting as a shield from all the negative factors.

These individual works portray the diversity of voices women have in the dance community. It is also a representation of the bold, ingenuitive actions these artists are taking in New York City. POP is recommended to you for  a stimulating, engaging performance, and an inspiration for all women to do the work, and make your voice heard.

About the Author:

Francesca Baron is a freelance Chicago based choreographic + performing artist. Graduating cum laude with dual degrees in Dance and Psychology from Lindenwood University. Francesca is drawn to dance because it allows for dynamic expression through the instrument of one’s body. Making it a priority to travel and train in leading modern/contemporary dance forms, Francesca has attended The American Dance Festival (NC), One Body, One Career intensive (Amsterdam, NL), FACT S/F workshop (CA), New Dialect intensive (TN), LINK Dance Festival (UT), and Detroit Dance City Festival (MI), as well as many Chicago festivals and intensives. She has also been commissioned to create works for Inaside Chicago Dance, Esoteric Dance Project, New Dances 2019, and Lindenwood University. Currently, she is a company member of Still Inspired(?) as they prepare for their sixth season.

Learn more about Francesca at Francesca Baron website