There was the sound of a cardboard box being punctured from within, followed by a hole being cut open like a baby chick pecking its way out of an egg shell. This was the opening of an intriguing, and oddly satisfying work titled SHELL (a draft of new ideas with new folks) by dancer and choreographer Ellen Smith Ahern. It was the second weekend of Dance at the Odyssey Festival in West LA curated by Barbara Müller-Wittmann and produced by Beth Hogan and Müller-Wittmann.
What followed was a series of sections and a film that brought to mind community, empathy, humanity and exploration. Back to the white box, two arms eventually appeared through the now two holes sawed open with a small, serrated knife, one reaching down to the floor to pick up a harmonica, the other reaching into space. Before Ahern emerged from the box, there were chords from the harmonica and Ahern’s small, but lovely voice singing lyrics from a lonely and wistful song.
Once set free from the box, Ahern performed a beautiful solo laced with movement that showcased her strong dance technique and beautiful line mixed in with what could be described as awkward, creature-like movement. Side note: Ahern has one of the most beautiful upper back arches I have seen in years.
Following her solo, Ahern sat down in one of the six chairs that formed a circle on stage right and five performers who were seated in the audience joined her for a hand dance and vocalization of sounds sung in harmony. Although it was very intimate, the sense of community definitely came across and this continued as a film involving senior citizens performing similar hand and arm dances with very young children was projected against the theater’s back wall.
There are many, many people in this world that feel that they are not seen and Ahern’s section with some of the performers standing underneath and on top of blankets while the others performed around them clearly reference this. Empathy was shown to these performers as the others made them rotate by turning the blankets underneath those unseen, demonstrating that yes, you are seen.
The work ended with the white box being moved center stage, turned on its side and Ahern and her assistant hurriedly placing tiny furniture and lights inside. Although there was humor involved, this section bordered on the absurd as Ahern shouts, “I’m going in!” Going in to do what was not clear, but the urgency definitely came across.
During the Talk Back following the performance, we learned that SHELL was created in just two days. Ahern worked with Müller-Wittmann to find five Los Angeles artists and with strict directions from Ahern, created a collaborative map for all of them to follow. The timeline was set and clues to shift from one section to another, but within that framework the performers were allowed to improvise.
Watching SHELL, I never would have guessed that this group only met five days prior to their two day rehearsal period. Yes, the improvisation was evident but the work appeared well rehearsed and polished. This says volumes about the planning Ahern had done and the trust that she instilled in her colleagues. Not everyone could pull this off so clearly Ahern knows what she is doing and how to accomplish it.
SHELL was Designed and Directed by Ellen Smith Ahern, the lighting was Designed by Katelan Braymer, and the Soundscape was by Menghan Wang and Ahern. The cast included: Ellen Smith Ahern, Jaz Dicey, Doug Goldstein, Lise Hart, Jennifer Jonassen, and Constance Strickland.
Dance at the Odyssey continues through February 16, 2025. The festival includes: 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 and to purchase tickets, please visit the Odyssey Theatre Ensemble website.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Cast of SHELL by Ellen Smith Ahern – Video captures by Ahern.