Maureen Janson Heintz
"Bonesetting" choreographed by Li Chiao-Ping
The auditorium of the historic Masonic Center proved to be an inspired venue to showcase Li Chiao-Ping’s choreography in Dolce Stil Novo. I had no idea this gem was hidden inside the art deco building built in 1925, and immediately understood why Li was drawn to it. The three-sided auditorium is almost like a beautifully appointed mini arena. It was fascinating to see older works presented in a new fashion and imagine the opportunities (and challenges) the historic venue offered Li when she choreographed new works.
Li is an open-minded and generous collaborator and assembled a talented team for this concert, which ran twice on Dec. 1.
Fashion designer Emily Popp’s 100 lb. dress, in the piece by the same name, is a huge assemblage of fabric that was almost a living, breathing organism. First worn just by one dancer, five others then donned the massive dress simultaneously to cross the stage as a symbol of the way we imbue our clothing with personas as well as the accumulated psychic (and actual) weight of our wardrobes.
Chele Isaac’s three short videos punctuated the program, offering disparate and unexpected images: an undulating octopus, the rich, gleaming texture of a leather couch, a giant bumblebee hovering over the shoreline, and an apple being chopped.
“Woman of the Year,” a solo for Liz Sexe, sprang from a 2016 work and explores the inequities and challenges facing women in the workplace, particularly in tech industries. Sexe shines in this highly gestural work and when she deliberately puts on high heels, it adds an even higher degree of difficulty to the already demanding solo.
The talented young cast members of “reDress/age,” all from UW-Madison’s dance department, appear in flowing floral print coats over riding breeches. They are all capable performers, but it was Aliya Rose who continually drew my gaze, committing bravely and entirely to the choreography. She’s graduating this spring with a promising future as she combines skill with an indelible presence.
In two related works, “Enchanting Girl” and “Nuts and Bolts,” Sexe, Lauren Gibbs and Elisabeth Roskopf frolic in red deconstructed 1980s Dynasty-style gowns. Roskopf is a joy to behold, whether she is playing a plinky-plonky version of “Moonlight Sonata” on a tiny toy piano that is being towed on a cart or throwing herself into the movement to the tune of “Ta-Ra-Ra-Boom-De-Ay.”
Tasks v.1,” was a solo piece for Luella Shapiro, a smooth and agile mover. It has its origins in Li’s solo “in media res,” but adds more text and even more daredevil stunts as Shapiro moves on and around a table. It shouldn’t have surprised me to learn that Shapiro has training in aerial arts.
“Terracotta Underground” looked new and wowed me more than when I first saw it on a traditional stage. Lauren John, as usual, is a solid dancer who brings a mellow confidence to the stage. I worry sometimes that I am jaded when it comes to watching dance, but when the cast assembled in the final moments of the piece and the dappled lighting struck them and projected patterns on the floor, I got goosebumps and a sense of total satisfaction.
“Endgame” was danced by Li but it is actually a duet with violinist Julia McConahay, a formidable performer. The work ended with Li somehow carrying four other dancers on her body. This testament to her literal strength as an athlete/dancer also underscored the figurative strength of her talents. That would have been the perfect place to stop, because the final piece that followed, “Fortuna,” was the weakest link.
John G. Frautschy created the stage for the venue, since this is the first time a contemporary dance performance has been held in the auditorium. He also contributed the well-conceived lighting design throughout.
I wish the aptly titled production (Dolce Stil Novo is Italian for “sweet new style”) had a run beyond its two performances. I think a broader audience would have found their way to it, especially since tickets were quite reasonably priced. More people should experience the work of Madison treasure Li Chiao-Ping.
