From Lineage Dance Company’s Artistic Director Hilary Thomas: “About two years ago, I had a tiny nugget of an idea. What if we created an artistic, immersive experience that took audiences on a walking journey through time? One group would travel forward from the 1950’s to the 1990’s. One group would go backwards from the 90’s to the 50’s. Everyone would meet halfway at the disco in the 70’s”. And that is how “Matter of Time” was born, as an idea, and finally as the immersive show.
As it turns out, Sheryl Scott, the Executive Director of the Gamble House in Pasadena saw an earlier version of the show and both her and Thomas thought “Matter of Time” should be performed at the house. This was a coup for a number of reasons. Thomas has mentioned Marty McFly and his travel through time in the movie Back to the Future as a kind of impetus for her choreographic excursion from the 1950’s through to 1999. It just so happens that the Gamble House is featured in that same movie as the house of character Emmett “Doc” Brown played by actor Christopher Lloyd. The date of the first performance of “Matter of Time” at the Gamble House fell on October 21st – the ten-year anniversary of Back to the Future Day in honor of McFly making his historic leap through time, as we were about to do through the lens of Thomas and her cohorts at Lineage Performing Arts Center. Serendipity indeed.
The Gamble House was constructed in 1908-1909 as a home for David B. Gamble, the son of Procter & Gamble founder James Gamble. It is a National Historic Landmark and a California Historical Landmark as well. It has withstood the tests of time and has weathered the 50’s, 60’s, 70’s, 80’s, and 90’s better than anyone I know. As such, it is no mute backdrop to the action but a very present participant. It was another character in the play, so to speak.
The evening began with a lovely musical nod to the 40’s out on the patio before we ever entered the house. Alan Geier provided the keyboard accompaniment for singer and emcee Donald Riddle while a group of dancers posed and moved on a set of chairs. It was a thoughtful welcome and a taste of things to come.
Upon entering the house proper my breath was taken away by the elegant lines and proportion of the Arts and Crafts masterpiece. Each room has a sensibility that creates a feeling of harmony throughout. Each aspect of the décor is considered and highlights the flow of the rooms to the whole. We entered through the foyer and around to a parlor or sitting room replete with chairs and a screen. My ticket was with the group that started in the 50’s and progressed forward through the 90’s. This was suitable to my analytical senses.
As we sat Geier was playing Moon River which put us all in the mood for the 50’s. Thomas’ choreography worked best during this decade as there was plenty of character development and idiosyncratic movement which matched the naiveté of this era quite well. I appreciated the informational interludes before each decade. Script writers were William Bellaimey and Angie Vaughn. They encapsulated the gist of the decade without an overburden of dates and facts. There were two educational films presented from the era. One, the ‘ol familiar drop and cover ‘how to’ in case of an Atomic Bomb, and the other “How to Catch a Fella” for those women who just couldn’t seem to find the right man. Both were hilarious in their own way. The absurdity of thinking one could survive an atomic bomb blast at ground zero was almost charming in its ignorance. Apparently, the images of people vaporized on the spot and their shadows forever etched into the pavement was not widespread by then. The light-heartedness of the voices as if describing a mere fire drill added to the outrageous humor. The woman narrating the second movie spared no advice in encouraging women to smile and adopt men’s hobbies, such as golf, in order to find a husband. How innocuous and charming it all seems looking back on it. And how terrifying to see it return. I don’t believe that the evening had a political agenda per se, but any trip through the tumultuous decades after the second world war, the civil rights movement, the assassinations of the 60’s, Vietnam, etc., will illuminate the political discord in the country at that time. And consequently, will serve as a mirror to reflect what is happening now.
For the 60’s we moved upstairs and sat in the spacious hallway connecting the upper rooms. Again, the dissertation before the dancing was informative and interesting. The dancing did not match the events of the decade, nor did it add any visual commentary to what was said. It was a romp through the period spoofing the Pink Panther Theme as two sleuths looked for clues. Jana Souza then sang a version of “White Rabbit” and a more psychedelic backdrop appeared on the screen behind. There followed a rendition of the Rich Man’s Frug from Sweet Charity which took courage as that number and choreography are so well known, so well captured on film, and so well-rehearsed.
At various intervals during the evening Paul Siemens, the current President of the Lineage Board of Directors made an appearance as Fred Rogers. He was the perfect choice, and it felt as if he had been doing this part all his life. He also managed to convey Mr. Rogers’ intense devotion to the care and education of children. He was joined by the talents of Diana Leon, Donald Riddle, Courtney Simpson, Jane Souza, Brittany Daniels, Teya Wolvington, Meghann Zenor and Keila Joy Fisher. Performers Nola Gibson, Molly Mattei, Caterina Mercante, Elizabeth Gracen, Ericalynn Priolo, Austin Roy and Marco Tacandong all brought the decades, and the house to life.
The 70’s took place downstairs out on the back patio which was spacious and gorgeously appointed with rocks, ponds and greenery. There was also a screen to show some highlights from the Muppet Show, Saturday Night Fever, and Soul Train. Strangely the preamble to the 70’s included an entire segment telling us that ‘most’ people think of Disco as portrayed by John Travolta in Saturday Night Fever. I strongly disagree with this assumption and cannot be the only person raised on American Bandstand, Soul Train, and Solid Gold. While the Bee Gees and ABBA were mentioned, no one said anything about Earth, Wind, & Fire, The Ohio Players, Parliament, or Donna Summer. This segment of the show seemed weak in its discussion and execution. There was an effort to get the audience up and dance, which many did, and I’m sure enjoyed themselves immensely.
For the 80’s and 90’s the atmosphere was light fun. The 80’s was in the basement while the 90’s took place in the attic, meant to be a billiard room. I certainly appreciated the idea of dancing through the decades but with the addition of the informational episodes before each decade what became apparent was that the dancing was not as serious as the events happening during that particular decade and perhaps that was the point. Popular dancing reflects the times from the “Charleston” up to and including “hip-hop” and “break dancing.” It seemed that Thomas’s choreography was not meant as a comment on any of the events which transpired but merely as a guide with which to look back and witness what humanity has come through and that no matter how tough or bleak the events of history may be, we can always dance our way through them. This reminds me of a recent pertinent story in the news: “In June 2022, Ukrainian high school students celebrated their prom in a basketball court in the ruins of their bombed-out school in Kharkiv. The students performed the prom waltz in front of an audience that included soldiers fighting in Ukraine.” The Beat goes on.
To learn more about Lineage Dance Company, please visit their website.
For more information about the Gamble House, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Lineage Dance in rehearsal for Matter of Time – The Gamble House – Photo by Robert Kunstmann.