An evocative and disconcerting performance that pushes abstract storytelling too far
Wency Lam’s ROOTS presented two unusual pieces which pushed the envelope on abstractism. Combining athleticism, artistry, and storytelling, ROOTS explores themes of identity and displacement in stories of migration and colonialism. While both works in this double bill, (Overseas) and Is Any Body Home? are interesting works of physical theater, it is difficult to connect them to their stated subject matter. Overall ROOTS features two fascinating studies of movement and expression that, unfortunately, seem to have lost the plot.
(Overseas) delivered some truly striking visuals, opening with dancer Hsinyu Wu bathed in red light, desperately clutching a dismembered leg. Ali Hunter’s lighting design was masterful, notably in (Overseas); colored lights clearly conveyed the separate character experiences and merged wonderfully when their stories came together. The piece flitted between Wu’s journey and Esme Lovell stood seemingly trapped in a white spotlight. The stated intention of (Overseas) is to examine the ‘complexity of identity’ under the influence of colonialism and migration; these concepts are difficult to find in the piece, with phrases conveying themes more reminiscent of motherhood and, oddly, what appeared to be cannibalism.
The dancers brilliantly embodied and displayed complex traumatic emotions, the intensity of which made their pain almost unbearable to watch yet impossible to look away from. Though short and infrequent, movement phrases in (Overseas) were wonderful. The combative choreography featured very strong partnerwork and was well-executed. Wu was especially brilliant in both her movement and expression; she impressed with the intricacy and intensity of her movements.
Is Any Body Home? Also opened with a striking visual: a stilted woman, Romina Dazzarola Forno, in a gothic Victorian gown
staring out over the audience. This image set the tone for the first half of this piece as dancers, Ronan Cardoza and John Hardy emerged from under the skirt like creatures from the void. This piece played between the abstract and the absurd. The choreography employed unique points of connection between dancers which resulted in unusually memorable phrases of partnerwork. Contortion was used in the choreography, notably during Cardoza and Hardy’s duet; it made for a fascinating and somewhat disconcerting display. Each an impressively expressive performer, the dancers drew the audience into the piece. Cardoza displayed beautiful technique and fluidity in her movements. She and Forno both had memorably expressive and communicative eyes. When the piece shifted to the absurd the expressions were comically exaggerated; Hardy’s were particularly amusing and almost uncomfortable.
While still tenuous, Is Any Body Home? had a clearer connection to its stated inquiry, ‘what is home?’. Upon Forno’s entrance to the dance, it shifted from dark and abstract to something more playful and a little absurd. The choreography became more human and the expressions more over-the-top. There were even a few moments that had audience members giggling and laughing out loud. The end made good use of spoken word and drew the story, kind of, back to the stated theme. Despite moving performances from a talented cast as well as some very intelligent choreography, ROOTS has come across confused and disconcerting. (Overseas) and Is Any Body Home? are captivating works that have strode too far from their purpose. I am not entirely sure what to make of this double bill. Perhaps it went over my head, but there comes a point where abstract has gone too far; ROOTS hit this point.