“Mirlitons” presented and supported by Dance Reflections by Van Cleef and Arpels on Friday evening Oct. 23rd was a mixed bag of movement and beats. The gorgeously restored UCLA Nimoy Theater in Westwood was the venue for this French import. An eclectic audience awaited the show in the impeccably kept Moderne style lobby where many took advantage of the stylish bar. Just before the doors opened an usher passed out ear plugs, a warning as to the potential volume. Once inside it was impossible not to notice the beautiful mural work on the aisle walls depicting notable buildings and theaters around Los Angeles. The Nimoy holds about 300 audience members with perfect sightlines but was pared down for this presentation.
The program states; “their duo is like a mirliton (musical instrument, headdress, Louis d’or or pastry): polysemic, sonorous, elusive.”
Whether this resonant realm was achieved would be the challenge. “Mirlitons” was set in front of the actual stage on the floor where perhaps several rows of seats had been removed to create an intimate theater in the round. Mats were set on the floor for those who wished to be up close and personal with a few rows of chairs surrounding the mats. I found myself sitting on the stage in an elevated position which allowed for a full view of the space below.
(L-R) François Chaignaud and Aymeric Hainaux in “Mirlitons” – Photo by Chanel Foster.
As we enter, dancer François Chaignaud contemplates beatboxer Aymeric Hainaux who is lying lifelessly on a large red cloth on the floor. In the center of this area is a platform about a foot off the floor which is wired for sound. In silence and seemingly oblivious to the audience, Chaignaud drags the much larger Hainaux around the platform until finally lifting and carrying him on his back. It is a feat of strength if not interest. Eventually he places him upright on the platform and Hainaux is revived. What follows seems to be three sections of beatboxing and movement all of which are improvised and all of which have no true focus. This feels similar to something bebop jazz musicians might do when riffing on a rhythm that keeps them in the zone but eventually wears out the listener. Hainaux is a reasonably skilled beatboxer while Chaignaud is a competent hoofer but the presentation is repetitive to the point of ennui. The audience are strictly observers as there is nothing presented to create an inclusive feeling except for the volume level which with the amplified platform is a ten.
Within these three segments there are inconsequential clothing changes which do not impact the dance or rhythm and so seem pointless. Each segment is an achievement in stamina as the performers are relentless in their commitment to the moment. Unfortunately beatboxing and hoofing without a purpose wear thin long before the performers are ready to move on. It is almost as if they have hypnotized themselves but left the audience behind. However, as I was able to see the audience well from my seat it was evident that some members were into the groove, felt the beat and found it entertaining. For me the lack of any point of view other than sound and unchanging tempos left me wanting more.
(L-R) François Chaignaud and Aymeric Hainaux in “Mirlitons” – Photo by Chanel Foster.
It is unclear what training dancer Chaignaud has other than tap but he seems graceful and a choreographed moment rather than constant busy improv might have shown her capability or even artistry but this was left unstated. At various moments Chaignaud rose up in his hard box-toed shoes to emulate working on point. This takes strength its true but sadly it becomes a trick without finesse. Hainaux, is not a dancer and does not move particularly well. He is a beatboxer which feels dated and limiting. A director and dramaturge might help with focus, adding some musical elements to work with and a dash of humor might bring this endeavor to life. Near the end of the 70-minute show, there was a nice moment when the two performers sang in falsetto and harmonized a melody of release and nostalgia while sitting quietly apart. This seemed to be the perfect denouement but alas more beatboxing followed.
The quote from the program as stated above makes one think of magical chimes and imaginary worlds that are sadly lacking in the final analysis of the show. However, the commitment of the performers is at least something. Perhaps with good direction and an actual point of view a “Mirliton” could happen.
The uncredited lighting design was well thought out and added noticeably to the overall atmosphere.
To learn more about Dance Reflections by Van Cleef and Arpels, please visit their website.
To see the full performance season at the UCLA Nimoy Theater, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: (L-R) François Chaignaud and Aymeric Hainaux in “Mirlitons” – Photo by Chanel Foster.
