An oasis is considered a moment of peace amid panic and trouble, often associated with the imagery of a mysterious patch of water in the desert. On the weekend of January 18, Alejandro Perez and Gretchen Ackerman created just that at the Odyssey Theatre Ensemble, interrupting nearly a week and a half of L.A.’s blazing fires with an evening of dance.
“Oasis: Could not escape my own escape,” a work in progress by the choreographic duo, shares a series of vignettes that bleed into one another just like an oasis. It feels like another realm, one filled with fog and a myriad of seemingly disjointed narratives. Yet, they flow like mist. Perez and Ackerman are the perfect pairing in this work-in-progress, constantly in flux with each other’s movement to create a balanced duet. The show offered an oasis from the tragic reality outside the theater, but unlike what the title suggests, there is an escape. Through dance and the act of working through the movements of a piece still in development, we witness a mystifying representation of mutual support that gives “Oasis” a beating heart.
Distinct scenes shape the performance. Some are abstract, while others are literal. Take the beginning for example. The fog in the theater is thick. A room divider takes up most of the view. A light turns on, and the duo steps out. Their shadows are cast on the screen of the divider. Perez pours two shot glasses, and they cheer before drinking. They pull away the room divider and transition into phrase work with less pedestrian movement. Over time, these starkly different aesthetics between sections feel like a collage of memories with characters up to interpretation. This decision is strong and leads to some poignant transitions. For a work in progress, it fits. Here, it is less about the narrative tissue and more about the ideas and feelings that are the DNA of the oasis.
What sticks out the most is Perez and Ackerman’s ability to push movement close enough to the edge that it breaks expectations, but not so much that it is overpowering. They will repeat movements, like rolls on the floor and small steps on their toes, further than anticipated. It adds an unexpected tension that keeps you entranced. They also play with the extremities of convention, stripping back the performance to its bare bones to bring us into the rehearsal room. For example, Ackerman stands below a spotlight and Perez watches, providing further instructions. “Faster,” he says. Ackerman’s repeated movement grows wilder. The instance operates as a key code to the rest of the work.
Throughout “Oasis,” we witness the duo navigate their movement vocabulary. It begins with a style that is fast in tempo, guided by weighted limbs. Perez’s arms swing down. He follows the momentum and tosses the rest of his body to the ground. As the show progresses, they explore a more weightless approach that allows for a softer quality to take hold. From section to section, the style changes from contemporary to street dance to ballet. Once again, it isn’t overpowering. It’s subtle and sticks out just enough to grab your attention. The merging of styles is both a choreographic exploration and an exemplification of their oasis.
It’s a give-and-take. Perez and Ackerman sit on the ground in front of each other. Perez folds his legs over his head. Ackerman reaches over to pull at his hips, and he goes back to sitting while she does the same: she folds her legs over her head. This repeats. Their movement is in sync and their synergy ties the work and explorations together. It may not all be the same aesthetic — one scene may be more theatrical than the abstract one — but their profound presence ties the pieces of the show together.
“Oasis” is still in development. It blends a series of ideas and memories in a surprisingly unified manner that has the capacity to provoke emotions of freedom out of the audience. In the stillness, the fog of the oasis swirls under the lights. These swirls are echoes of what came before. It’s dizzying but necessary to move forward. In this oasis, there is promise that the bright pockets of joy we saw on stage are ahead outside the theater.
Coming up next on Dance at the Odyssey: Re:born Dance Interactive & Boróka Nagy January 31-February 2, Spenser Theberge February 7-9, and Gheremi Clay (Clay Collective) February 14-16, 2025.
For more information about Dance at the Odyssey and to purchase please visit their website.
Written by Steven Vargas for LA Dance Collective.
Featured image: (L-R) Alejandro Perez and Gretchen Ackerman – Promotional Photo for “Oasis” by Ale Carmona – Edited to fit by LADC.