On a recent Sunday night, I was sitting at the Red Fez in Boston having a cocktail and chatting with my boyfriend. There was a slight buzz of excited anticipation in the air. Suddenly we were called to join a woman who introduced herself as our “Time Troll.” We gathered around, and suddenly we were being thrown into a journey that I know I will never forget.
This was the start of Within the Lines- the creative dance experience put on by Urbanity Dance, and created by their artistic director Betsi Graves. My sister, Chantal Doucett, is a company dancer, and I was so glad that she asked me to come see this show. It was unique, it was creative, it was thought-provoking, and even better- it was aesthetically beautiful.
Our “Time Troll” was played by Judith Kalaora. She was FANTASTIC! I’m not sure if she’s a professional actress, but she truly was unique. The role of the time troll was to be our guide through the journey of the performance. When I say “journey” I mean it. Our group was first ushered to a gallery where we met Constance (danced by Kayla Skerry) and her family portraiture consisting of Lucy (danced by Emily Sulock), Eleanor (danced by Lara Park), and Abigail (danced by Chantal Doucett- my beautiful sister!). The four were framed in time as a family. The diversity in movement was wonderful. It ranged from serious to quirky and even had a “traditional” type dance. Constance desires to break away from the family and move outside her family portrait and we began to follow her on her journey…
Our time troll brought us to the next gallery where we were told we would be facing our fears. As we shuffled into the space, a lone dancer stood statuesquely in the middle of the room encompassed by a long, beautiful black and red cape, glowing sinisterly in a red lighting. This is Vanilicious ( danced by Danielle Pastuszack). She began to move slowly, and suddenly hands were emerging from the cape (truly frightening, if I might add; like something out of a horror flick). As the dancer moves, the hands disappear but then are revealed as more dancers, or fears. Constance timidly walks in to the space to face her fears by facing off with Vanilicious. The dancers were intense. The corps work was danced well, but I couldn’t keep my eyes off Danielle. Her dancing and intense gaze drew you in. It was no wonder that Constance was tempted to follow here- I would have! But Constance managed to defeat her fears and move on to the next section.
The group was next led to another gallery where we were in a moment of time where we would experience both being old and being young at the same time. A group of “nanas” were dancing as young girls dressed in sparkly sequined dresses. As Constance is taken aback by the feisty little old ladies, their moments are interrupted by young children who are dancing as though they were the old ones. They were dressed in simple outfits in dark colors. The juxtaposition of old and young was fascinating and was shown through Constance’s curiosity. In truth, this was my least favorite part of the show. The choreography for the first whole part didn’t seem to work for me. It was as if someone else a little younger and a little more inexperienced had put it together. While I understood the reasoning behind the sparkly cocktail dresses, I found them extremely distracting, and all I could think about was how miraculous it was that the sequins hadn’t caught and messed the dancers up. This section was redeemed when the children danced, and the ending part showed maturity in both the dancing and the choreography. The nanas left, and so did Constance, and we followed her to the next section.
In the next room we were introduced to the Pristinellas- ice goddesses that were allowing Constance, and our group, to be a witness to their ceremonious dance. Our time troll had told us that winter was on its way (my boyfriend and I turned to each other and said “Winter is coming” as she described that. Yep, we are Game of Thrones nerds). The four dancers that play the Pristinellas were tall, long-legged, and beautiful. They were dressed in nude tops and bottoms, and were “exposed” to show their vulnerability. The floor was scattered with paper “snow”. It was absolutely beautiful. I was completely enchanted by the graceful and solemn movement. I fought back tears as the girls extended their legs and pointed their toes and temps de fleched into the air. I was truly touched that these ice goddesses (the so-called “ballerinas” of the company perhaps?) had allowed us to witness their world. Even Constance just sat and watched in awe and wonder. To be touched through dance like that is what I look for in performances, and I’m so glad we got to see that.
After our journey through winter, we were told it was time for a commercial break. How fun! We were ushered into a little smaller space for what must have only been a few minutes to watch 2 male dancers in Urbanity-wear dance and show us that there were tank tops on sale! What a unique way to promote! I thought it was very fun, and creative way to get our attention.
Next we “stumbled” upon a group of dancers in a playground. A group of younger dancers monk eying around in a playground. It was so much fun! They were dressed in coats and leggings and boots (good job for keeping those kids warm!). This was a great site specific piece. The kids used the swings, the slides, the seats that spun, etc. It was even set up that they pulled an “unsuspecting” member of the audience into their playtime (it was soon revealed that he was part of the show. After a rollicking 5 section version of “Gangnam Style” he revealed a t-shirt that said something about living, and proceeded in blowing bubbles from the slide).
Our final stop brought us into the Urbanity studios. 2 screen projectors were set up and Constance danced between them as images of her in rural scenery flashed on the screens. The added multi-media effect really impressed me. Personally, I’m not a big fan of multi-media dance performances, but this fit very well, and got the point across. Our Time Troll then had a volunteer help her move the screen projectors to reveal a paisley wall. I’m pretty sure my great-grandmother had a wall similar to this! As the music started, hands protruded from the wall (again, something out of a horror flick!). Two dancers emerged (Brian Hernandez and Sindy Katrotic) and began to dance and climb and do unimaginable feats on the wall! I was amazed by Brian’s strength, and even more impressed by Sindy’s ability to keep up with him! Their bodies moved and flowed with the design of the wall (they were dressed in costumes that matched the design! Flashback to the shirt scene in the movie “Garden State”). They were dubbed as “wallflowers” in the program.
In the end, Constance returns to the family portraiture a changed woman, and although she didn’t seem to fall back into line, she was able to return and yet keep her new found sense of self. The choreographer and dancers took their bows, and I was honestly a little sad to have it end. We were invited to head back to the Red Fez or to go on our merry way.
Overall, the performance was enchanting and captivating. Even my boyfriend, who has a theater background, but doesn't often go to dance shows, enjoyed it! I was thoroughly impressed with the level of dancing overall. The choreography was complex, but not overdone. It was refreshing to see Betsi’s sense of musicality fit the choreography. Often times I feel as though choreographers try too hard to match the music, or try too hard to go off beat. Betsi found the sweet spot. Not to mention her choice in music was fantastic!
If all of Urbanity’s shows are this fantastic, you can count me in to be there for every single one from now on! Bravo dancers, Betsi, and everyone who was involved! I highly suggest you all check them out at www.urbanitydance.org, or on Facebook or Twitter. I follow them myself!
