At the matinee on Saturday, July 13, 2024, the Odyssey Theatre, TORRENT, Caitlin Javech, and Gianna Burright presented two intriguing but very different works, Rupture and As if everything was perfect. This was the final weekend of Dance at the Odyssey Summer Edition curated by Barbara Müeller-Wittmann and co-produced by Müeller-Wittmann and Beth Hogan.
Dance at the Odyssey – Joe Davis in “Rupture” by Caitlin Javech – Photo by Hope Spears.
Rupture, beautifully choreographed by Caitlin Javech to a compelling score by composer Tyler Sanders, was a fascinating exploration into the physical effects emotions and relationships can have on one’s body. Performed with expert attention to detail by Rebecca Lee and Joe Davis, the tension between those on stage and in the audience was palatable from beginning to end. The chemistry between Lee and Davis was electric and each one displayed a lasting control of both their physicality and acting abilities.
Dance at the Odyssey – (L-R) Rebecca Lee and Joe Davis in “Rupture” by Caitlin Javech – Photo by Hope Spears.
The two characters performed primarily on a diagonal from downstage right to upstage left atop a shiny Mylar that was about three or four feet wide which reflected both their images as well as the strong lighting by Claire Chrzan. There were moments when each performer’s body was violently vibrating only to stop abruptly. Each endured their pain or elation separately on either end of the diagonal before coming together. By the end of the work, I felt that this was always meant to be two people in a relationship who suffer internally before finding solace in each other.
Dance at the Odyssey – (L-R) Rebecca Lee and Joe Davis in “Rupture” by Caitlin Javech – Photo by Hope Spears.
Everything came together in Rupture, the choreography, performers, music, lighting, set and costuming to create a work that I have continued to remember and ponder over. I have not seen Lee dance as well as she did that night which tells me she is where she belongs. Davis is a wonderful and powerful dancer as well and together they captured the entire audience.
Dance at the Odyssey – Alex Rix in “As if everything was perfect” by Gianna Burright – Photo by Hope Spears.
The beginning of Gianna Burright’s As if everything was perfect was magical. A lovely woman, Natalie Allen, slowly entered dressed in a gorgeous blue gown with a floor length black lace jacket and pushing two long handled industrial brooms. The juxtaposition of the two was surreal and her control of the brooms and how she made them dance was amazing. Alex Rix enters wearing a fake fur coat and sits facing upstage lazily scanning the horizon. The mystery continues as Allen performs a lyrical trio with her two brooms and Nicole Hagen appears in a green dress and an orange fake fur jacket to perform a very physical and interesting solo.
Dance at the Odyssey – (L-R) Nicole Hagen and Natalie Allen in “As if everything was perfect” by Gianna Burright – Photo by Hope Spears.
Suddenly and sadly, however, the spell was broken and became silly when the three women used the broom handles as a microphone to narrate what was to come. The work continued to be interesting but never truly recaptured the intensity or brilliance of the opening scene. Hagen’s movement became more vigorous ejecting her jacket and blouse as she repeatedly shook her torso up and down.
Dance at the Odyssey – Nicole Hagen in “As if everything was perfect” by Gianna Burright – Photo by Hope Spears.
The three women were now dressed in shorts and blouses and Rix and Allen came to Hagen’s aid as her movement became more off center and she repeatedly collapsed and fell into their arms. This was followed by an inventive floor canon involving all three and a duet with Allen leading Hagen around by her head.
Dance at the Odyssey – (L-R) Alex Rix, Nicole Hagen, Natalie Allen in “As if everything was perfect” by Gianna Burright – Photo by Hope Spears.
Costumes for As if everything was perfect were designed by Tess Hewlett. The performances were strong and the music by Sio Tepper commanding but the surrealistic opening was never matched and I was left with the feeling that I had witnessed two entirely different pieces that were only connected by the printed title. I never felt bored, just a bit disappointed.
For more information about TORRENT Dance, please visit their website.
For more information about the Odyssey Theatre Ensemble, please visit their website.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Dance at the Odyssey – (L-R) Rebecca Lee and Joe Davis in “Rupture” by Caitlin Javech – Photo by Hope Spears.
