On October 21 and 22, 2022 and in true to form, The Wallis, under Exec. Director Rachel Fine presented the thrilling BODYTRAFFIC. The adroit Tina Finkelman Berkett, Artistic Director along with a company of brilliant artist/dancers brought the audience to its feet, in only the way they can…through masterful dance and dance design.
At the last minute, the opening piece Love.Lost.Fly required a special insert in the program, apparently having been just taken out of the oven by choreographer Micaela Taylor and perhaps still a work-in-progress. It is loosely based on tales of unrequited love, and said to have some relationship to Madame Butterfly or any other tragic love lost story… Romeo and Juliet anyone? The diaphanous hangings from the ceiling timbers, in colors of rose, pink and white appeared to be a kind of proof that this was serious, romantic and tragic all at the same time. Sets by: Lori Lee. The naive simple-ness of this piece, if handled by a knowledgeable dramaturg may have helped.
BODYTRAFFIC – “Love.Lost.Fly” by Micaela Taylor – (L-R) Alana Jones, Katie Garcia, Jordyn Santiago (beinglifted, Joan Rodriguez (center),Tiare Keeno (being lifted), Ty Morrison – Photo by Rob Latour
Were it not for the brilliance of BODYTRAFFIC’s dancers saving this curious attempt as the curtain rose to begin the evening, one might have been concerned. Surmising that the deadline was mandatory, there was plenty of brilliance that shone through. Pedro Garcia, the focused untethered lover, whose complete commitment was stunning and haunting and otherwise irresistible. The wonderful ragdoll interpretation of Jordyn Santiago, no relationship to Cio-Cio San (Madame Butterfly), did a yoeman’s job as the pinnacle of the love triangle that subsequently ended as a square with her lover, the strong sensual Joan Rodriguez and his girlfriend, Tiare Keeno, plus Santiago’s admirer. The original music and Sound Editing was done by SHOCKEY, with added music by Ezio Bosso, “The Things That Remain.” It is a hodge podge of sounds and tunes, forgettable and at times distracting. It acted as background to the story with no musical throughline to grab onto.
BODYTRAFFIC – (L-R) Katie Garcia, Guzman Rosdo, Jordyn Santiago in “A Million Voices” by Matthew Neenan – Photo by Rob Latour
Next, we finally relaxed with A Million Voices, choreographed by the talented Matthew Neenan. It was a romance in every way. It showed the 40s lovers moving away and together to the unforgettable and sultry vocals of Peggy Lee, with tunes by Johnny Mercer, Irving Berlin, Herald Arlen, Sour and Carlisle, C. Farrow, Stoller and Leiber, Adrian Zing and Benny Goodman. They were all the best in the business during war times when romance was fleeting. Neenan’s reminder to slow down, and keep dancing was delivered fully by the outstanding brilliance of the strong, lyrical and engaging work of Ty Morrison, Pedro Garcia, Joan Rodriguez, Alana Jones, and Jordyn Santiago who brought us back to a subtle and, yes, if only imagined, more romantic times. Their personal commitment and fluidity, dressing in clothing chosen by BODYTRAFFIC themselves, drew us in. The standout elegance and clarity of the lyrical Katie Garcia’s presence filled the stage with her over-circular skirt and pill-box hat reaching out to remember those graceful moments. It left a kind of yearning, wondering what happened to us. A Million Voices was an uncomplicated and beautifully constructed piece with a simplicity of design and movement that helped us to breathe again, and yes, love again… “That’s all there [was]…so keep on Dancing” ( J. Leiber).
BODYTRAFFIC – (L-R) Guzman Rosado, Tiare Keeno, Alana Jones, Jordyn Santiago, Pedro Garcia, Joan Rodriquez, Katie Garcia, Ty Morrison in “A Millian Voices” by Matthew Neenan – Photo by Rob Latour
The One to Stay With by choreographic duo Amadi ‘Baye’ Washington & Sam ‘Asa’ Pratt, as the best art tends to do, can be recognized for its holographic view. These two long-time friends from New York combine their efforts of Hip Hop and African movements, and so much more, to make metaphoric political statements. It appears to tell about freedom and subjugation, gulag vs emancipation. This piece is no less than that. Their powerful musicality and percussive renderings grab the audience and insist they wake up. The program notes say this piece was inspired by “Empire of Pairs” (Patrick Radden Keefe). Perhaps, but the premise is basic to human life forms and the need for absolute power. We recognized it as lulling us to sleep and picking our pockets at the same time. In the notes they give the example of the Sackler family.
There is a theatrical element that is inserted, perhaps for effect, unexplained and curious, that is never quite explored even in the program notes. An Orb that glows, glimmers and is doused with liquid from the rafters. Perhaps to take our attention away from the darkness of the message? Why this element is even necessary when the story is clear and evident…that is the question.
BODYTRAFFIC in “The One to Stay With” by Baye and Asa – Dancers Tiare Keeno, Pedro Garcia, Katie Garcia, Whitney Schmanski, Jordyn Santiago, Guzman Rosado, Ty Morrison, Joan Rodriguez – Photo by Rob Latour
However, this piece is organically outstanding in many other ways. It’s movements, constructed with both pedestrian and physically technical expertise do the impossible, they occupy the same space at the same time by the miraculously musical and facile Pedro Garcia, Katie Garcia, Ty Morrison, Joan Rodriguez, Guzman Rosado, Jordyn Santiago and brilliantly led by the dynamic powerhouse Tiare Keeno and the strong lyricism of Whitney Schmanski. It fully fulfills all the desires of why anyone would ever want to dance.
The gorgeous music of Georgy Sviridov “The Snowstorm: II. Waltz and VII Echo of Waltz” and Bella Bartok’s “On the Hills of Manchuria” Romanian Folk Dances, Sz.56:III, pe-loc-Andante, takes us in with its folk rhythms, yearnings and melody, something nearly lost today in the white noise of beatless music and sans-melody. It is emotional and dynamic without being maudlin. The costumes, by Dana Botez, are Khaki green fitted tunics, and draped black pants set against the muted light tunics of the protagonists and flowed with the beauty of the bodies dancing. Lighting Design by Michael Jarett’s expertise becomes part of the physicality of the movement. Perhaps this is the piece that we should have been left with at the end of the evening.
BODYTRAFFIC – Joan Rodriguez in “PACOPEPEPLUTO” by Alejandro Cerrudo – Photo by Rob Latour
And finally, back to the prude days of the 50’s and 60’s when Werner Kunz, pioneer of a sexual and physical liberation film, “The Nude Ones” challenged the populous to go free. Choreographer Alejandro Cerrudo succeeds in reminding us in PACOPEPEPLUTO, (originally done for Hubbard Street in 2011) that there’s something quite joyful in this exposure. The three dazzling examples of male physical prowess glistens, both technically and physically, in their very limited nude g-strings. They move almost non-stop on the low-lit stage, courtesy of designer Matthew Miller. Each executes their incredible musculature and technique in Dean Martin’s trilogy. Memories are Made of This, introduces us first to Juan Rodriquez’ who looks much like Diskobolos, Discus Thrower of 450 BCE. Then the powerful Ty Morrison teases us in the Chapel in the Moonlight, and finally, That’s Amore with Pedro Garcia. It is a non-stop blur of titillating glory with Cerrudo’s tongue in cheek tease, with only a moment to focus our eyes, full view, of each of these Adonises.
Although, this last piece was fun and full of wonder, it was mis-placed as the finale of the evening. It left us wanting, just before our celebratory glass of champagne welcoming back our adopted native daughters and sons of BODYTRAFFIC. We so missed you and look forward to another season with your truly superb company of dancer/creators.
Note: BODYTRAFFIC will be performing at the Segerstrom Center for the Arts in Segerstrom Hall on Thursday, November 3, 2022 at 7:30 PM. For more information and to purchase tickets, please visit Segerstrom Center website. You can read the interview with BODYTRAFFIC’s Artistic Direct Tina Finkleman Berkett and choreographer Micaela Taylor by clicking HERE.
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To learn more about BODYTRAFFIC, please visit their website.
To see the entire performance season at The Wallis, please visit their website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: BODYTRAFFIC – Ty Morrison in PACOPEPEPLUTO by Alejandro Cerrudo – Photo by Rob Latour
