Interludes

VIEWPOINTS – Performance as literal acts of survival: Molissa Fenley’s STATE OF DARKNESS and Miet Warlop’s ONE SONG

• By drediman
• October 6, 2024
• No Comments

Over the past week or so, I came across a pair of performances that were literal acts of survival, both requiring Olympic-level endurance to simply get through them. As per usual, read on for my thoughts on these fascinating outings.

STATE OF DARKNESS
Fall for Dance at New York City Center
Closed

One of the most memorable bits of programming during the deep, dark days of Covid lockdown was The Joyce Theater’s virtual mounting of Molissa Fenley’s State of Darkness (HIGHLY RECOMMENDED). The landmark solo was first performed by Fenley herself in 1988 to commemorate the life of fellow choreographer Arnie Zane. Like any great work of art, the piece took on new meaning in 2020 as all of us grappled with a world spinning out of our grasp. In an inspired move, The Joyce cast seven very different dancers to take on the grueling 35-minute solo set to Stravinsky’s Le Sacre du Printemps, each personifying Fenley’s existential cry with bespoke flourishes and frightening specificity. Last weekend, one of these dancers — American Ballet Theatre principal Cassandra Trenary (bravely taking over for a slightly injured Sara Mearns of City Ballet) — returned to the piece via New York City Center’s popular Fall for Dance Festival. Although State of Darkness already made for explosive viewing through my laptop monitor, experiencing the work live was a revelatory experience. Trenary’s interpretation is one of ferocious attack, utilizing every bit of her mental and physical fortitude to get through the dance’s harrowing trajectory. A disciplined, technically superb dancer, Trenary put on quite the show of stamina and raw intensity, all the while masterfully tempering the choreography’s swings between sculptural introspection and lashing savagery. Suffice to say, the conclusion of her performance was met with a thunderous standing ovation.

ONE SONG
NYU Skirball
Closed

Then this weekend down at NYU Skirball, I had the pleasure of attending One Song (RECOMMENDED), the latest creation from Belgian multi-disciplinary artist Miet Warlop. Co-presented with L’Alliance New York as a part of the eclectic Crossing The Line Festival, the piece makes its U.S. premiere after having received acclaim as part the Avignon Festival in 2022. In essence, the work audaciously mashes rock concert with live sporting competition, devolving into choreographed chaos over the course of its hour-long run time. Many elements of a lively sporting event are represented — an animated sportscaster provides lively commentary, rowdy spectators cheer hysterically in the stands, weather disruptions, and the support of an irrepressible cheerleader whose enthusiasm ultimately takes home the top prize. Throughout, a quintet of game, tireless athletes — who together also comprise a rock band (violin, bass, keyboard, percussion, singer) — play a single song on a relentless loop while competing on their respective sporting events (e.g., the focused violinist competes on the balance beam!). At once ludicrous and mesmerizing, the work in a larger sense operates as a microcosm for broad societal machinations, which make themselves apparent as the power dynamics within the company glacially shift and collide. Although all this may sound a bit too avant-garde for some theatergoers, there’s an inherent visceral daredevil quality that makes One Song just plain fun to watch — just like a sporting event. Indeed, once it gets going, the thrilling kineticism of it all is addicting to behold.