‘The Missing Peace’ performers grapple with serious subjects
Identity. Alzheimer’s disease. Suicide.
Each is a consuming subject in itself, worthy of a full evening’s exploration or more. But in the hands, bodies and minds of Shana Simmons Dance, they were connected by a sense of loss at Bricolage on Friday night.
Called “The Missing Peace,” Jamie Erin Murphy, Brady Sanders and Shana Simmons — three veteran independent Pittsburgh choreographers — grappled with the subjects that have affected them.
The outcome was a virtually seamless outpouring of movement, empathy and, surprisingly, a real beauty that immersed the audience in many ways. To start, almost everyone had a front-row seat that surrounded the white flooring, allowing for a true intimacy between performers and viewers.
The evening began with a film explaining the choreographers’ motives and processes, something particularly beneficial to those who might not have extensive exposure to the art form.
What followed needed little explanation, though. Ms. Murphy created the first of the dance segments, based on identity. It immediately established a comforting atmosphere of support as the dancers crisscrossed and merged with the space, clasping hands along the way.
They were clad in neutral colors and would use added layers in subsequent segments. Bob Steineck’s lighting created a soft glow for what could have been a harsh approach.
Some of the text was self-deprecating — “I am clumsy.” “I am short, short, short.” During her journey of self-discovery, Ms. Murphy’s evocative duet with Pittsburgh Ballet Theatre corps member Corey Bourbonniere allowed the two to interlock with their costume pieces. Later there was an exchange as the accompanying text searched for her core self.
Slowdanger’s Taylor Knight then slithered across the floor to the sounds of rain and crickets. A voice intoned, “Have you seen my keys?” — a symbol of forgetfulness and, later perhaps, Alzheimer’s.
The dancers here donned lavender tops with faces, those to remember and those forgotten. As the stories began to unfold, such as “she made the best apple pie,” the performers pushed movable silver screens into the performing area.
They had changeable squares, with parts of faces, and allowed dancers to reach through for needed connections. Mr. Sanders was surrounded by the dancers, caged by the screens and culminating in a tender, supportive duet with Ms. Simmons.
That feeling of support made the transition into Ms. Simmons’ suicide segment, where the performers wore simple black armbands with neutrals. She, too, had a dynamic percussive solo that evolved into trust issues, using soft catches as the text turned favorable: “I like it when my daughters call me.”
Although each choreographer would stand apart, there were remarkable details that added another layer of cohesiveness, including the creamy movement and five talented and commited young dancers from the surrounding college dance programs: Carmella Cuomo, JoAnna DTaylor Knightehler, Allegra Golembiewski, Emily Jaikaran and Sara Spizzichini.
The subjects did not weigh things down. Instead, the artists were able to elevate their response, not in a saccharine way, but with honest and meaningful choices. And the serious intent of “The Missing Peace” ultimately gave it a sweet clarity of purpose, something that should transfer well on tour.