Lynyrd Skynyrd’s “Simple Man” plays. Dancer Rosalynde LeBlanc weaves around other performers lying lifeless on the ground. She runs freely with a contagious smile as her arms spread behind her like a cape, hands holding up a middle finger. It feels euphoric. This moment choreographed by Charissa Kroeger and Evan Sagadencky showcases the power of a well-crafted epilogue.
L.A. Dance Project’s Launch:LA 4 presentation which ran from Oct. 25-27 shared two new works: Kroeger and Sagadencky’s “The Future Is Much Closer Than It Used to Be” and Julia Eichten and Kevin Zambrano’s “Liza & Nijinsky Pretending to be Kevin and Julia.” The residency program supports L.A.-based emerging artists in the creation of new work. This year’s iteration pushed the boundaries of what is considered a performance space as the dance artists made unique choices to inhabit different parts of the LADP stage. More importantly, the use of the epilogue in both performances helped synthesize their pieces and show the importance of a final, lasting image.
LADP’s Launch: LA 4 – “The Future Is Much Closer Than It Used to Be” by Charissa Kroeger and Evan Sagadencky – Photo by Skye Schmidt Varga.
“The Future Is Much Closer Than It Used to Be” is a ritualistic interpretation of sports, specifically tennis. Performers LeBlanc, Louka Gailliez, Camila Arana, Angel Inniss, Tate Justus, Gwen Hillier and Murphy Cross each have a role to play in this game of life depicted on stage. The piece begins with Hillier and Cross dancing as cheerleaders at the far end of the room as audience members file in. When the show begins, a square fabric on the ground lifts to the ceiling, inviting performers in. The process provides a methodical break between moments of effort.
LADP’s Launch: LA 4 – “The Future Is Much Closer Than It Used to Be” by Charissa Kroeger and Evan Sagadencky – Photo by Skye Schmidt Varga.
The choreographic duo puts their all into the movement itself. Much of the vocabulary pulls from sports, incorporating running drills, racket swings and shuffles intermixed with contemporary movement. In a poignant moment, a group of performers are moving quickly on one side of the net, touching and interacting with each other. On the other side, LeBlanc and Justus move slowly in a dissection of gender. LeBlanc flexes, showing off her muscles. Meanwhile, Justus dressed in a skirt flows soft and feminine.
LADP’s Launch: LA 4 – “The Future Is Much Closer Than It Used to Be” by Charissa Kroeger and Evan Sagadencky – Photo by Skye Schmidt Varga.
The choreography is so incredibly detailed that there is so much to pull from its narrative. It keeps you entertained and introspective. From armor made of foam fingers to a tangled net, there is a lot in the narrative to mull over. “The Future Is Much Closer Than It Used to Be” is the first project Kroeger and Sagadencky collaborated on. Their introduction as a choreographic duo is strong and promising for what is to come.
The next duo, Eichten and Zambrano, brought a more comedic and theatrical piece to life. “Liza & Nijinsky Pretending to be Kevin and Julia” takes place on the set of Liza Minnelli and Vaslav Nijinsky’s talk show where Eichten and Zambrano are guests. The show starts with the usual TV elements — a sitting interview and a commercial break — but as the dancing duo reminds us: this is theater, and anything is possible.
LADP’s Launch: LA 4 – (L-R) Kevin Zambrano and Julie Eichten in their work “Liza & Nijinsky Pretending to be Kevin and Julia” – Photo by Skye Schmidt Varga.
The talk show turns into an unexpected friendship between Nijinsky and Minnelli, played by Zambrano and Eichten, respectively. They are masters of theatrics, pushing the limits of what is possible on stage. They even bring out a black hole. After a fit of cued laughter, they inform the audience to blink on the count of three. 1… 2… 3… they jump over a black circle on the ground and as you blink, they disappear. Much of the show is crafted with the audience. In a hilarious bit, they auction a shirt that says, “PARTY LIKE LIZA DANCE LIKE NIJINSKY” (which is now sold on BEMOVING).
Watching Eichten and Zambrano embody the two iconic figures felt entrancing, taking inspiration from the figure’s personality and historical performances. Zambrano infuses choreography from “Prelude to the Afternoon of a Faun” into his performance, moving with hands flat on both sides of him. He lurches and sits with one leg bent, resting his arms straight over his knee as depicted in the choreography. Similarly, Eichten rolls her shoulder and whips her head similar to Minnelli and her collaborator Bob Fosse (think “Liza with a Z”). As they describe in the show, “jazz hands and pointed toes.”
LADP’s Launch: LA 4 – (L-R) Julie Eichten and Kevin Zambrano in their work “Liza & Nijinsky Pretending to be Kevin and Julia” – Photo by Skye Schmidt Varga.
Soon it is forgotten that the dancers are the special guests. It isn’t important because we have Liza and Nijinsky causing a ruckus. The unexpected glamour of the performance is its ability to strip back and expose what goes on behind the scenes. In one moment, they perform a section of choreography and stop to redo it. They forgot a step. They call out to Jill, the DJ played by Juniper Rose who created the sound score, as she restarts the music wearing a giant bow and wig on her head. Similarly, Zambrano argues with Eichten because it is the “arguing” section of the piece. The verbal fight feels real until Zambrano forgets a line. By utilizing this technique, they are able to take control of the tension. They build it up and find the right moment to release some laughter.
After a hilarious time on stage playing Nijinsky and Minnelli, Zambrano and Eichten drop the act and head behind the curtain against the upstage wall of LADP, mics still in. They get candid about what they just performed, telling each other they could’ve done better. They change out of sight as their stagehands Bill (Fallon Brooking) and Phil (Phillip James Gonzalez) clean up the mess left behind. This is the epilogue.
LADP’s Launch: LA 4 – (L-R) Kevin Zambrano and Julie Eichten in their work “Liza & Nijinsky Pretending to be Kevin and Julia” – Photo by Skye Schmidt Varga.
“Zipper? I barely know her,” Zambrano says backstage with a chuckle.
“Oh, you finally got that joke in,” Eichten quips, referring to his difficulty landing a joke during the show.
When they reenter, the theatrical humor is gone and they have fully transformed into Minnelli and Nijinsky — costumes, music and all. Their piece is a smart and witty homage. The epilogue ties up the jokes, references and overall theatrical experience into a tight bow. This iteration of LAUNCH:LA portrayed innovative and remarkable uses of the epilogue, whether depicting freedom after a wreck or the final, synthesized embodiment of our inspirations.
For more information about L.A. Dance Project, please visit their website.
Written by Steven Vargas for LA Dance Chronicle.
Featured image: LADP’s Launch: LA 4 – “The Future Is Much Closer Than It Used to Be” by Charissa Kroeger and Evan Sagadencky – Photo by Skye Schmidt Varga.
