SILENT PARTNERS will touch
your soul and tickle your funny bone. A powerful commentary on contemporary
life, these vignettes are witty, revealing, surreal, and ridiculous. Inventive
choreography, text, props, and costuming enhance the intimate yet universal
metaphors of the pieces.
"This show is as sweet and goofy, as provocative and contemplative, and as creatively conceived and expertly realized as any you might see this year." Post and Courier, Charleston, SC, Piccolo Spoleto Festival 2000
This piece is a romp through the tape in our heads that is constantly telling us what to do. It opens with a girl who is authoritatively "pushed" around by a gigantic hand. As the sketch develops, ensemble choreography reflects the relationship between fitting in and scapegoating in our mass psyche.
SHOPPING FOR LIFESTYLES
A woman in a black box, with only head and hands visible, struggles through life's many options. At various turns, she states emphatically that she has found herself, only to change her mind when she discovers a new option.
Dressed in white costumes that obscure gender, two performers engage in a movement theater dance that reflects the obsessive need for attention as well as distance in many relationships. This piece is performed in black light to music by the Kronos Quartet.
An innocent know-it-all brings home a "pet" a head in a cage. She proceeds to care for the pet according to expert advice. Unable to see the real needs of the pet, her actions become abusive while she fully believes she is taking good care of her charge.
This humorous interlude, performed between "White Suits" and "Jackie," comments on society's hang-ups about nudity. An actor discreetly changes costume onstage while discussing the difficulty of changing clothes in public places.
A woman purchases a novelty sweater, believing it will make her beautiful. As she tries it on she loses herself in a maze of pockets. The sweater literally swallows her. Her dilemma is a statement about advertising and the fashion industry.
FRAME OF MIND
The set consists of an 8-foot open frame enclosing a bench. On the floor under the bench is the Monk. Using only her mouth, she reverently and methodically creates formations with shiny white pebbles. Positioned in the frame is the Inquisitor. Jealous of the Monk's contentment and creativity, the Inquisitor embarks on a dialogue with the Monk centering around the choices we make. The Monk guides the Inquisitor with very simple responses, unconsciously prompting her to physically explore more and more possibilities within the frame. These explorations become quite acrobatic until the Inquisitor eventually finds her way out of the frame, which has symbolized her limited perspective.
A playful, childish character is slowly influenced by the presence of a "perfect" icon who never steps off a series of beams placed diagonally across the stage. The child is intent on achieving the same stoic manner, but gradually she starts to fear all that she once felt comfortable with. When the figure passes offstage, the child is left frozen and unable to cross the largest space between the beams.
SEAT OF REASON
A woman is forced to "be in the place where she is" as she discovers the limits of the "vacation" she is on. She has landed on a stool that is 6 feet in the air. The piece is lit so that the woman appears to be in a void. As she realizes the limits of her environment, she also discovers a freedom she has never before experienced.
This piece is about contentment and conflict in a relationship. The two characters, a Realist and Dreamer, "live" on a stool surrounded by household items. But the Dreamer also exists in a world beyond their shared reality. The Realist is incapable of seeing or accepting what the Dreamer experiences, despite the Dreamer's efforts to explain it.
This piece deals with the complex ways cultures appropriate styles of dress, speech, music, and interaction from each other and examines the role the dominant culture plays in this exchange. Two characters are dressed in contrasting costumes one is black and white and angular, and the other is colorful and circular. As the piece progresses, the two characters offer and steal (appropriate) parts of each other's costumes and movement styles as they move through an array of personal interactions. The end is a bittersweet surprise!
In this solo piece, a girl looking at magazines is torn between wanting to be like the images presented to her and the "tape" in her head. The soundtrack (a sung collage of womens voices juxtaposed with phrases from the magazines), combines to highten the tension of the girl's conflict as she eventually throws all caution to the wind and fully enjoys the fantasy of being a fashion model.
HAIKU FABLES REVIEWS REPERTORY GIRLS WEAR SHIRTS