Reviewed by Adrienne Totino
Executive Director of Pittsburgh’s Kelly-Strayhorn Theater, Janera Solomon, met Kate Watson-Wallace eight years ago at the Philadelphia Live Arts Festival. Solomon was impressed with her creative idea for a dance trilogy called “American Spaces,” where she would create work in a house, a car, and a store. The two developed a relationship, and since then, Watson-Wallace has performed in Pittsburgh several times.
This time, she and her company, Anonymous Bodies, spent a year in residency at the theater, working on her world premiere of “Mash Up Body,” an installation piece that ran this past weekend for an intimate crowd at the Alloy Studios.
The studio was transformed into a theater-in-the-round, with black curtains draped over the floor to ceiling windows, new lighting, and a full sound board for collaborator and musician, Christopher Sean Powell.
The hour long show took place in two “acts.” In the first half, partially inspired by a David Lynch film, the performers dressed in all black, casually entering and exiting the space from the audience seating. The shape of the phrasing did have a “Lynchian” feel, random like a dream sequence, at times baffling, but always entertaining.
In creating the piece, Watson-Wallace was interested in the “random ways in which we use our bodies to play people we are not.” The dancers did use traditional movement styles, but just as we would start to see a classic contemporary phrase, the performers would suddenly stop, pose in an unusual way, model a runway walk, or even talk to an audience member. Each performer showed us their many distinct qualities, sometimes spastic and sometimes quite vulnerable.
Mostly, the work was humorous. In one section, Devynn Emory spoke into a microphone, directing the other dancers in random tasks – breathing in and out; lifting one another; and lying down to snuggle. The audience even joined in for the “tonal work,” poking fun at the vocal spiritual practice.
The second half was mostly improvised, with the idea of “mashing up” or wrecking the first half. Cori Olinghouse entered the space in loud pink and purple clothing, an orange chair slung over her shoulder before she threw it violently to the floor. The rest of the cast entered in the same bright colors, trashing the space with cords, clothing and more chairs.
One hilarious moment came near the end when Marjani Forte mimicked Watson-Wallace in a classic question and answer forum that often follows dance performances. “Thank you for having us…Yes, I was interested in having a variety of bodies on stage…Thank you so much to the Kelly-Strayhorn.”
The music grew louder over Forte’s voice on the microphone, and suddenly the entire cast was dancing, party-style, to Janet Jackson’s “All For You.”
If it all sounds like sixty minutes of random absurdity, I assure you it wasn’t. In fact, it didn’t go on quite long enough, and Watson-Wallace could have been on stage much more often.
Of Watson-Wallace’s work, Solomon said it best: “Even in the moments when she pushes her audience, she’s not simply toying…she’s inviting us into her world and asking us to consider seeing her (and ourselves) differently. I appreciate that opportunity.”
The audience clearly appreciated the opportunity as well, showering the performers with excited applause. Although we may have been unsure of what we had just witnessed, it somehow resonated with us deeply. And that kind of resonance, to me, equals success.