On the evening of December 14th, I had the pleasure of attending Lovers Piece directed by Mandolin Burns and Max Martin at the historic Highways Performance Space. This show was unique in featuring performers who were in actual romantic relationships outside of the performance which offered a fresh glimpse of authentic intimacy in performance.
Jules Mara and Tryston Williams, and Grace Protzmann and Paige Van Conant in “Lovers Piece” Directed by Mandolin Burns and Max Martin Mandolin – Photo by McCall Olsen.
Walking into Highways gallery space I was greeted by striking installation work featuring couples Jules Mara and Tryston Williams, Mak Thornquest and Soren Gannholm, and Grace Protzmann and Paige Van Conant. The gallery felt like an altar set up to give the roaming audience a glimpse into a window of intimacy. What I found the most striking about the installation was one particular couple who were tattooing one another, a symbolic representation of trust and submission.
(L-R) Jen Lacy, Cacia LeCount, Bella Allen, Jane Zogbi in “Lovers Piece” Directed by Mandolin Burns and Max Martin Mandolin – Photo by McCall Olsen.
Upon entering the theater, I was greeted by a set design created by Dylan Allen Todd consisting of what seemed to be a living room, a bathroom, and a closet full of bright and interesting clothes all in disarray. The performers, Jen Lacy, Cacia LaCount, Monica Williams, Mason Rose Gray, Bella Allen and Jane Zogbi were pre-set amidst the varying landscapes as I took my seat. The sound design by Violet Hannesena, Redfield Mills, and Celeste Ollivier beautifully supported the work by incorporating recordings of each performer speaking about the ways in which they fell in love.
Bella Allen, Jane Zogbi in “Lovers Piece” Directed by Mandolin Burns and Max Martin Mandolin – Photo by McCall Olsen.
The unique quality of this show regarding the witnessing of real life relationships gave the performance a quality of vulnerability and at times, brutal honesty which as a spectator, I found moving in many ways. The performers expressed the complex nature of their relationships through movement qualities that spanned from controlled and sustained to aggressive and uncontrollable. The performers beautifully navigated the set design making use of each item in both pedestrian and abstract ways. This made the work feel accessible and easily understood as the performers expressed the mundane and at times monotonous everyday functions of life. Each performer showed a clear sense of commitment to both their performance quality and dance/life partner.
Mason Rose Gray, Monica Williams,Jen Lacy, Cacia LeCount, Bella Allen, Jane Zogbi in “Lovers Piece” Directed by Mandolin Burns and Max Martin Mandolin – Photo by McCall Olsen.
Burns and Martin did a fantastic job at directing performers in their ability and range by bringing comedic movement, spoken word, and complete vulnerability to the stage. I found myself laughing, being brought to tears, and feeling moved to reach over and grab my own partner’s hand to hold. The work embodied the play-like nature of what it is to be a lover and an artist while also referencing that at times, love can also feel like a wrestling match.
The work wonderfully encapsulated the invigorating world of each couple as one another’s muses and lovers. It was incredibly moving to witness queer relationships but more specifically, sapphic relationships represented in dance as it is often a rarity to see. I applaud each of the performers in their courage to put their love on display, and I am honored to have witnessed such an honest and transformative show.
For more information about Highways Performance Space, please visit their website.
Written by Rebecca Lee for LA Dance Chronicle.
Featured image: “Lovers Piece” Directed by Mandolin Burns and Max Martin Mandolin – Photo by Patrick Kennelly.
