What part of a performance makes people laugh and smile? Is it a joke or a misstep? CrawlSpace’s “Spare Change Vol. 5” unintentionally approaches this question by exploring the pleasures of play.
The evening performance on October 14, 2025 included works (both final and in-progress) by Audrey Sides, duo Mason Gray and Monica Williams of TRIN Dance Theatre, and Felicia St. Cyr. The works each provided a dash of joy in the choreography, whether purposeful or not. By submitting to the possibilities of exploration, the dance creatives channeled feelings of levity in moments of tension, a special ability that results in a more dynamic presentation of movement.
CRAWLSPACE L.A. – Spare Change Vol. 5 – Felicia St Cyr performing – Photo by Slade Segerson.
Sides began the presentation by explaining she considered the work to be a work-in-progress for years but is finally accepting its completion. She proclaims that this is the final version because “it’ll never be the same ever again.” In her work, there is an immediate juxtaposition in movement and storytelling. There are directives, phrases and reflections projected on the wall in the form of captions over a blue screen. She leans against the wall and slowly makes her way to the ground, shaking and slowly moving her limbs.
“It’s over when she stands up,” the caption says.
She pauses mid-way through a dialogue with an unidentifiable, Siri-like voice speaking through the projection, questioning her internal thought process. Sides explains that she wanted something different in the conclusion, stripping away the fourth wall to read off text messages with Lena Martin, a Crawl Space co-founder and co-artistic director. Sides warns us, this is the technical dance section, but this big finale gets interrupted by a series of technical difficulties. The video stops and she pauses for technical director Celeste Olliivier to fix.
Technical mishaps are distressing, but as Sides said at the beginning, this is the final version. Although unplanned, the disruptions add to the performance. It brought laughter for the unpredictability of life, something anyone can relate to. Yet, she goes along with the punches, teasing an impromptu end before the technical difficulties are amended. The improvisation allows the performance to bleed into reality, creating a tension that makes the moments of joy deeper. The humor in the captions and in Sides’ ability to improvise and pick up where things left off shows a side to her choreography that couldn’t be complete without the audience.
CRAWLSPACE L.A. – Spare Change Vol. 5 – Mason Gray and Monica Williams performing – Photo by Slade Segerson.
Gray and Williams’ work-in-progress is a reflection of their own personal relationship, revealing the tug-and-pull of a romance that bleeds into their artistic practice. A majority of the piece is slow in tempo and depicts a constant balance between the two. They each take turns deciding who guides the next moment of improv. Although the piece prioritizes a somber and intimate side to a relationship, the best comes out in the end when the music switches tempo. They playfully dance around Crawl Space. During the talk-back following the performance, they revealed that they were inspired by the times they danced around the kitchen together. Gray and Williams were able to harness that delicate, romantic side of joy so beautifully. They start to tease about doing the iconic lift in “Dirty Dancing,” prepping across the space. They make this attempt twice, each time bringing a laugh and cheer from the audience. Their work-in-progress reveals the power that comes from inviting audiences into musings of their relationship. It’s vulnerable to invite people into the kitchen with them, dancing and laughing alongside their playful grooves and inside jokes. This laughter is different; it comes from a place of relatability. They remind us of those innocent moments with a partner where we let ourselves embrace our childlike play.
CRAWLSPACE L.A. – Spare Change Vol. 5 – Felicia St Cyr performing – Photo by Slade Segerson.
Lastly, Cyr turns to absurdity for a laugh. Her presentation was the seedling of a new solo dance theater piece. She begins in the shower, sharing a stream of consciousness. As she steps out of the shower and dresses, she pops out into the space. A spotlight shines from the ceiling. “It’s morning!” she proclaims.
Her humorous dialogue and sense of timing stand out in the piece. She makes fun of the obvious, slightly breaking the fourth wall by layering technical elements with humorous quips. She turns to a table and chair for breakfast, popping open a box of cereal and pouring what seems to be metal nuts and bolts into a bowl. She blesses the breakfast with a prayer, then consumes a spoonful or two before she starts to bleed from her mouth. The audience gasps, but the dissonance between the dramatic image and her joy ushers a new sense of laughter, one of slight discomfort and joy from the illogical.
As she dances to Creed with blood covering her mouth and clothes, the dissonance then manifests through her choreographic choices. She pairs alternative rock music with contemporary movement. She mixes grand steps with short, comical ones—all performed with a serious tone. Even though the piece felt like a slice of life, her performance proves she is a master of theatricality and can captivate an audience with humorous tragedy.
“Spare Change Vol. 5” revealed the value of humor in the unpredictability. Even though things may go unplanned or unexpected, it can help shape a final performance and provide a performer with a dynamic range of tones and emotions to play with, even when things are not set in stone.
For more information about CRAWLSPACE L.A please visit their website.
Feature Photo: CRAWLSPACE L.A. – Audrey Sides performing – Photo by Slade Segerson.
