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The following review is from new contributor Jonathon.
In modern dance, a "works-in-progress" showing is somewhere between a rough draft and a teaser – it's a sneak preview of work that'll show up later in the year as a longer, more polished product. Danceworks Laboratory, the latest works-in-progress showing from Sharir + Bustamante Danceworks, features the work of José Bustamante and two international choreographers in varying degrees of artistic readiness. Though we tried to go in with an open mind – fully embracing, in its utter fullness, the fragile, nubile, heroic beast that is creative birth – we left a little disappointed, but still pumped that we got a heads-up in some cool new dance in Austin.
José Bustamante showed work that was commissioned for First Night Austin. We were a little surprised, at first, at how simple the movement seemed – being Austin newbies, this was our first Bustamante encounter, and they tell us he's a dance world big shot. But, never fear, after we learned that this piece was originally choreographed specifically to be performed in the lobby of the Frost Bank Tower, it made us re-think our early apprehension. His dancers paraded around in silver jumpsuits with hula-hoop skirts (very cute design by Amy Burrell), teetering and wobbling like demonic, futuristic Oompa Loompas. Their faux-dramatic dance to music by Mozart and Handel went from cute to hilarious to, at times, oddly poignant. Our one disappointment was the technical design that projected 3D landscapes and real-time playback of the performance – as it was happening – onto a large screen behind the dancers. While these technical whiz-bangs have the potential to be truly awesome additions, they seemed unrelated and distracting the way we saw them used during Saturday's show. But overall, we say "Go José!" We're glad we've finally made your acquaintance.
Also on display was new work from popular Mexican choreographer Claudia Lavista, performed by Andee Scott. According to Andee, this is just one part of a "larger performance project of solo commissions from various women around the world". Talk about expansive! Andee is a beautiful dancer, and the movement was, at times, interesting and innovative. However, she didn't seem very sure of herself, and that made it hard to identify with her performance. Still, we hear she's only performed this piece twice; we're betting that the next time we see her name it'll be in much brighter lights.
And now for the last part. We're about to get mean. If that sort of thing makes you squeamish, we encourage you to turn away now. Additionally, a short disclaimer: we are not big fans of interpretive dance. We don't get it, and think that it's self-indulgent (and lame). If you are an avid connoisseur of this particular performance genre, we're sorry in advance for the disagreement we're about to have.
Toshiko Namioka is a direct descendent of the Japanese Samurai social class. She danced with a 150 year-old mask that, apparently, connected her with recurring dreams she has in which "ancestral spirits re-play a loop of evenings within moonlight halls filled with the spiritual remnants of human betrayal and uncontrollable demonic forces". This is significantly more interesting than what we actually saw on stage. Toshiko wandered around, seemingly with no purpose, occasionally stopping to imitate a bull (complete with sound effects). This piece reminded us of that scene in the Big Lebowski where The Dude's landlord performed a solo at some community theatre near the Whataburger. Apparently "regarded by some as the Martha Graham of Japan", it's possible that we just can't appreciate the contribution and influence her "amalgam of modern dance, martial arts and Butoh" has had on the dance world at large. However, personal problems with her chosen medium aside, the staging seemed almost thoughtless, the characters (or animals) – while seemingly integral to the meaning of the piece – were incredibly difficult to identify, and the work as a whole lacked shape or dynamic. But, this was a "work-in-progress" like everything else we saw that evening, so maybe it'll look better with some extra rehearsal and the additional dancers Toshiko plans to add for the full performance in May.
Despite these grumblings, we'd say the evening was a success. These works-in-progress will be re-worked and shaped up for a full performance May 12 th and 13th at the McCullough Theatre as part of Sharir + Bustamante Danceworks' Season Finale. After what we've seen so far, we'll definitely be there to check it out.
* Image (c) Shair + Bustamante Danceworks.
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