Spring Three: Visceral Dance Chicago | Harris Theater for Music and Dance
Visceral Dance Chicago is only three years old, yet has already made leaps and bounds (no pun intended) with the a number of stunning performances. Dedicated to being a bold and progressive company with a commitment to diversity, their presence in the Chicago art community is truly refreshing. This powerhouse company offers classes and workshops on top of providing beautiful performances. Not only having earned local recognition, they have also gained national and international respect. With works by esteemed choreographers, this company continues to break barriers and make a strong name for themselves. Their most recent event entitled “Spring Three” includes a five piece performance including work featured by Fernando Melo, Marguerite Donlon, and founder Nick Pupillo. Whether you are a seasoned veteran in the dance community or a newbie to the scene, this company’s versatility surely is a force that will leave you wanting more.
Ruff Celts, in its world premiere, is when modern meets tradition in a bold explosion of power, splendor and humor. Marguerite Donlon, choreographer and conceptualist, encapsulates classical themes of Celtic culture in one beautiful avant-garde experience. Dancers begin in line on a golden half lit background evoking the imagery of a rising sun, a key element in the brilliant lighting design by Nathan Tomlinson. One can sense a story commencing that is further illustrated with Tomlinson’s execution, which wonderfully contributes to the raw sensation and expression of Donlon’s vision. A plethora of emotive music, not limited to Sam Auinger, De Dannan, and Sinead O’Connor, breathes life and energy into this complex piece. The audio selection paired with varied motifs, such as love, comedy, and mystery often found in Celtic folklore, creates something wild and rare. Why stop at stunning visual aesthetics and tantalizing music though? Donlon’s keen eye for detail is flawlessly highlighted in her concept for minimal costuming. The simple black leotards wore by female dancers and black contemporary kilts by the male dancers were only paired with an Elizabethan ruff. This costuming choice holds strong significance in this cross dimensional allusion to history. The performance sets itself apart by these specific historical fashion trends and illustrating the progression of dance from communication into an art form. Bobbing beats, lumbering limbs and vocal calls portray a nod to ancient Celtic and pre-historic existence. An ambiguous sense of history propels the audience forward through time with each rich movement. The inspired wide time-ranging details from music to body positions to costuming creates an impressive all-encompassing homage to the Celtic culture.
Within this five segmented evening, Nick Pupillo’s She Three, which premiered last year, stands out as nothing short of breath taking. Pupillo pushes the boundaries in examining the human connection as told through three strong female dancers, Caitlin Cucchiara, Marissa Horton, and Kelsey Middleton, who tread between singular being and relationship. The number three is a particular choice, which can illustrate a strong significance with a historical lens. The three fates of Greek Mythology, the holy trinity of Christianity, the three treasures of Buddhism, the triple goddess of Wicca are just a few religious factions which hold this number sacred. Returning to the Neo-pagan deity, the triple goddess includes the Maiden, the Mother and the Crone. Each symbolizes a stage in the female life cycle and a phase of the Moon, which seems subtly represented in this piece. Three spotlights brought low, within feet from the floor, illuminates solely three female dancers’ top halves. Brian Sidney Bembridge’s lighting design for this piece is simply striking. With these pools of light, tension and isolated focus are used in an unexpected way to exemplify the concept of the singular versus the collective. Strong circular motions while they dance together creates an ebb and flow eluding to loose thematic elements regarding female empowerment and struggle. The fluidity in actions unfold and the passing of time is told by the book-ended by Goldmund’s haunting staccato melody. A triad of music, movement and light elevates an intriguing perspective on humanity and femininity to a new level.
While not all accounted for in this review, the variety showcased in this evening's performance has a style for everyone from more classical pieces to avant-garde modern works. The sheer command in each performance gave a cohesive meaningful feel in its own right. Taking the audience through a mesmerizing eclectic whirlwind is no easy feat, yet was effortlessly achievable by the mastery of these artists. The experience reaffirms Visceral Dance Chicago lives up to all its well deserved praise. Without a doubt this company has a promising and bright future ahead.
For more information on Visceral Dance Chicago and their upcoming performances, workshops and classes, please visit the company’s website: www.visceraldance.com.
