Rain was originally expected at the Jacob’s Pillow Dance Festival, but the unexpected rumble came from within the Ted Shawn Theater. During the matinee performance of Dorrance Dance, the dancers spread themselves around the auditorium and began drumming the floor and walls, creating a storm of sound.
This tap dance company, led by Michelle Dorrance, has a signature move of turning the entire theater into a drum. They have even performed this at the Guggenheim Museum. However, the brilliance of their first piece, “SOUNDspace,” lies in its quietness.
“Soundspace,” created 10 years ago for Danspace Project, was originally performed without taps due to restrictions on metal-tipped shoes. Dorrance’s solution was to tap without taps, using leather-soled footwear or socks. Although the piece has evolved over the years to adapt to different spaces, some sections are still performed without taps. The rhythms produced by leather and wood create a beautiful sound reminiscent of billiard balls.
Even when the dancers wear tap shoes, their foot-drumming remains subtle and expressive, showcasing their diverse range of timbre and touch. Dorrance’s choreography highlights these subtleties, focusing on the intricate movements of their ankles and knees. The dancers maintain suspense with a click track-like rhythm, continuously adding and subtracting each other, trading phrases that bring delight to the group.
What makes “SOUNDspace” truly remarkable is its ability to combine set choreography with improvisation, creating a cohesive group performance while still allowing each dancer’s individuality to shine. This unique composition skill was already evident when the piece premiered in 2013, just two years after the formation of Dorrance Dance. Even after a decade, the piece still impresses, serving as a testament to its early promise and longevity.
While most of the original cast members have moved on, the new dancers bring their own personalities to the work. Luke Hickey stands out with his flashy and musical performance, thrilling the audience. Leonardo Sandoval adds Brazilian rhythms and sounds to his body percussion solo, creating a one-man-band experience. Addi Loving, who recently joined the group, showcases her quick-witted and adorable yet slightly dorky style, fitting seamlessly into this tribe of talented dancers.
In addition to “SOUNDspace,” the program also features Dorrance’s latest work, “45th & 8th,” which premiered at the Joyce Theater. This piece puts the spotlight on the exceptional vocalist Aaron Marcellus, who composed and performs the score with his four-piece band. Marcellus showcases his remarkable technique of electronically looping his voice, creating a multi-layered and soulful sound. However, while the score starts and ends with a funky vibe, its middle section slows down, and the dance, though following the music sensitively, loses some of its energy. Nevertheless, the dancers still manage to make the most of the situation, sliding around and having a good time on stage.
Later in the evening program, Mythili Prakash presents her debut work, “She’s Auspicious,” which explores her Indian and American heritage through the art of Bharatanatyam. As a second-generation Indian and American expert in this traditional dance form, Prakash questions the mythology of the goddess Devi and societal expectations of femininity.
Prakash’s solo performance is strongest when she subversively uses Bharatanatyam technique. While a skilled dancer can seamlessly switch between multiple characters during a solo, Prakash deliberately displays strain and vulnerability. When she portrays a goddess or woman trying to be seductive in one moment and a mother in the next, the audience can feel the pressure building. During moments when she rocks an invisible infant, there is a genuine fear that she might shake it to death.
The piece becomes even more powerful when Prakash is joined by three female musicians, which is a rarity in Indian dance. What initially appears as a traditional solo transforms into a portrait of a frazzled multitasking goddess. Prakash is pulled in multiple directions by invisible children, cleaning up after them, tending to their wounds, and cooking their meals, all while attending to her own appearance for public engagements. The fear of her falling apart becomes real.
While this irony is effectively portrayed, the overall tone of the piece leans towards self-seriousness rather than exploring the comedic elements of the situation. The sections preceding and following the strongest moments are protracted and challenging to follow. Prakash introduces some of her themes through clunky voice-overs, and towards the end, she removes her jewelry and lets down her hair, seeking freedom in greater ferocity. However, the performance ends in exhaustion, with Prakash spasming on the floor before making eye contact with each audience member, as if establishing a more genuine self-presentation.
It feels like “She’s Auspicious” is still a work in progress. Originally scheduled for the outdoor stage, it was moved inside to a studio theater due to the weather. The piece would benefit from enhanced production values, particularly sophisticated lighting, and some editing. However, as the performance was reaching its prolonged conclusion, nature intervened. The heavens opened, and thunder shook the glass-walled studio, providing a dramatic assist to the performance.
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