For two consecutive weekends Psychopomp Dance Theater presented CHAOS! Volume II at Highways Performance Space. On August 30th, the program included works by Lydia McDonald, Elsie Neilson, Stevie Lamblin, and Psychopomp Founder and Artistic Director Shenandoah Harris. A theme that ran throughout the evening was the strong floorwork with similar but inventive partnering involving one or more dancers tumbling over each other. This extreme athleticism has been one of the company’s trademarks since it was first founded.
Lydia McDonald, Stephanie Mizrahi, Emily O’Rourke, and Hannah Peddicord in “Artifice” by Lydia McDonald – Photo by George Simian.
Lydia McDonald’s Artifice appeared highly influenced by Harris’ work and it was by far the strongest piece in the first half of the program. A large white sheet covered a group of performers and with three pairs of feet visible on three sides. Bodies moved underneath and periodically one or two dancers attempted to leave the security of their environment, only to be drawn back in – sometimes forcefully.
The energy of the work builds along with the music of Max Richter, Dictaphone, and Emptyset, ending in a fever of high energy and high impact down to and up from the floor. It was left unclear whether these four characters managed to escape or make peace with their inner turmoil, but it was the struggle that was important in Artifice. Were they cunning enough or did they only deceive themselves?
The very strong and agile performers in Artifice were Lydia McDonald, Stephanie Mizrahi, Emily O’Rourke, and Hannah Peddicord. Scenic, Props, and Costumes were by McDonald.
Yutori, choreographed by Elsie Neilson was totally opposite in quality from the McDonald’s work. Here Neilson used some of the same floorwork and partnering techniques but by shifting the intent, made them look soft and loving. She incorporated vases of flowers with beautifully choreographed and rehearsed exchanges of props to unify the quartet of performers.
The work was beautifully constructed and Neilson’s timing and subtle shifts in energy kept Yutori from becoming too pretty. I enjoyed her use of unison by how it united rather than simply having the dancers move together for the no other reason than a second thought or running out of ideas.
The cast of Yutori was strongly performed by Elsie Neilson, Abby Chuah, Mizuki Sako, and Courtney McFeteridge. Music was by Somnolent, Erik Satie, Phillippe Entremont, and Ed Carlsen; Scenic, props, and costumes were by Neilson.
Celeste Kennington and Macy Perry in “Liar Mane” by Stevie Lamblin – Photo by George Simian.
The weakest piece of the evening was titled Liar’s Mane, choreographed by Stevie Lamblin. Two women were first seen tethered together by their hair; not the first time this idea has been used. Their relationship to each other or why they were connected in such a bizarre way was never made clear even after reading the program notes: A visceral analogy on our comparable nature to the taxonomically inferior beasts that cohabitate our planet. Based on the 1973 French film “Fantastic Planet” by René Laloux – an idea that reads too involved for a 10 minute duet performed adequately by Celeste Kennington and Macy Perry.
The music for Liar’s Mane was by kwes, Shivaree, and White Noise Collectors. Scenic, props, costumes were by Lamblin.
Cast members of “The Wasteland” – dance created during a workshop organized by Abby Chuah Mizuki Sako and Shenandoah Harris – Photo by George Simian.
The work just before intermission was the result of a four day intensive creation process organized and run by Pyschopomp. Titled The Wasteland (inspired by the Mad Max universe), it involved eight women and two men often struggling against unseen but common conditions. Here too, there was Psychopomp’s trademark movement that was full of organized chaos, turmoil, and animalistic behaviors.
Kudos to Psychopomp’s Abby Chuah, Mizuki Sako, and Harris for creating this opportunity, and to the high energy and completely focused participants of the Creation Workshop 2024. Sadly, their names were not provided. A shout goes out to the intense and driving music which was also not credited.
Abby Chuah, Mizuki Sako, and Lydia McDonald in “Der Golem” by Shenandoah Harris – Photo by George Simian.
According to the Jüdisches Museum Berlin, “A golem is a creature formed out of a lifeless substance such as dust or earth that is brought to life by ritual incantations and sequences of Hebrew letters. The golem, brought into being by a human creator, becomes a helper, a companion, or a rescuer of an imperiled Jewish community.”
Harris’ approximately forty minute work Der Golem bought this ancient Jewish legend to the stage in three sections that focused on the ingredients needed to create the Golem: Ritual and Tradition; Memory and Remembrance; and Strength and Self Determination.
The strongest of these was section one. Here Harris visualized very clearly the ritualism and tradition. Three women or priestesses ceremoniously walked in carrying folded materials with tassels hanging from two corners. The lighting made it difficult to see if these were white or blue, but they were identical in shape and size. What was clear that the women brought sacred offerings meant for a higher entity. The women formally spread the gifts out, lay on and under them and each one eventually moved about as if a trance.
In sections two a man walked across the stage discarding his denim jacket and proceeded to build a small structure of thin sticks and blue cloth. Later on as the lighting changed, we saw him in silhouette working intently as the women slowly danced themselves into a frenzy.
Abby Chuah, Mizuki Sako, Lydia McDonald and Ryan Howard in “Der Golem” by Shenandoah Harris – Photo by George Simian.
Section three felt very similar to section two except for a trio working with the discarded jacket. Here, the choreography was masterful. Although the very similar movement became more grounded, this last section appeared to have at least two crescendos.
Der Golem came to a close as the women removed the blue cloth and from behind it rose the approximately twelve feet tall golem.
I commend Harris for taking on such a legendary topic and the majority of the piece worked beautifully. A thirty or forty minute work can fly by if constructed correctly, but time wise Der Golem felt long.
The very strong dancers in Der Golem were Abby Chuah, Mizuki Sako, and Lydia McDonald. The maker of the Golem was Ryan Howard. Music: Original score by McMurray.
For more information about Psychopomp, please visit their website.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Elsie Neilson, Abby Chuah, Mizuki Sako, and Courtney McFeteridge in Yutori by Elsie Neilson – Photo by George Simian.
