'First to enter is Meredith Harrill, whose commanding presence focuses attention to the center of the space, then opens the floor for the rest to follow as if storming a runway, in costumes that are simultaneously futuristic and retro...' | IreneCHsiao
On an industrial strip of Rockwell just off Elston, beyond a white door with numbers painted in red, past a makeshift bar, through a dark curtain lies a white brick room filled with smoke. Through the haze, folding chairs line each wall, leaving bare an expanse of concrete, above which soar long sheets of white fabric. Long prisms of light slice across the space, confining the darkness, opening angular apertures for action.
The light drives the story: in a blistering solo, Andres Castillo Gomez is pulled by its force—then, immediately following, Meagan Cubides is pushed in all directions by a bright beam wheeled around her and across the floor by Brandon Talbott. Duets and trios materialize within bright polygons defined by their contrast with the darkness surrounding.
For all our proximity, the dancers stare stoically above our heads and hardly seem to make eye contact with each other; the effect makes viewers into voyeurs, almost close enough to touch but never to really make contact. Until, abruptly, on a single count the focus shifts: the dancers gaze upon us, arms outstretched, commanding us from our chairs.
The dancers return, hoods pulled down over their eyes, marching like warriors to an unseen enemy. The hoods fall, exposing faces and trembling hands. Then, with the light, the space changes again, brightening and expanding to the walls beyond, upon which supported dancers delicately step, as if discovering a new gravity—and by extension the audience, which is now within the confines of this new border. We are invited to join them in a last joyous dance as white petals fall from above.
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