Creating movement for a steampunk world

Even as a young child, dancer Kerwin Barrington was drawn more to choreographing for others than performing herself. Barrington is behind the moves in David Fennario’s steampunk revue Fessenden Follies, which has its world première at Hudson Village Theatre on Thursday. The Clock Master production is directed by Glen Robinson, with costumes by award-winning visual and textile artist Tina Struthers and original music by JP Vialard. Barrington, Robinson and Vialard joined forces from the very first moments it was decided Fennario’s story about inventor Reginald Aubrey Fessenden would unfold in a futuristic steampunk universe, which toys with time frame and draws on an esthetic referencing both the Victorian era and the Industrial Revolution. “I love it,” Barrington said of the production. “It’s just the most innovative thing.” Using music, song, spoken word, dialogue and dance, Fessenden Follies tells the story of the Townshipper who grew up to invent the radio. Although Guglielmo Marconi is widely credited with the accomplishment, Austin, Que.-born Fessenden was the first person to broadcast the human voice, in 1900. It doesn’t often happen, but Barrington will also be performing in Fessenden Follies. The play features three dance solos and one group dance number. Barrington dances one of the solos and the two others are danced by former professional dancer Terry Orlando and artist Adele Reeves — a longtime dance student of Barrington’s. During her choreography sessions, Barrington used a technique called speed creating. She would give a verbal or written directive and the dancers would instinctively reply with movement. In other words, they would improvise. Barrington is a fan of speed creating and its mix of improvisation and organization. “It is an effective way to give the dancer a say,” she said.