(photo by Bengt Gustafsson)
Twenty Looks at the mind and soul of Trajal Harrell
by Chad Dembski
A 10 minute introduction at the beginning of the evening greets the audience and serves as a good preparation for the epic onslaught we are about to experience. In the humble and insightful opening Trajal Harrell explains that this piece is part of a series of works that come in different sizes (xs,s,m,l). The entire series is based on the proposal of bringing the dance and style of voguing into the modern dance of the 1960’s and the Judson Church in New York City. He explains it is not a historical interpretation but more in the realm of imagination and fantasy. He also cautions that both the costumes and lights are a work-in-progress and that no matter what they will go on.
This intro leads into a series of solo dances on white islands on the front of the stage to variety of music. A system seems to be set in place as each of these solos present an individual take on the aforementioned combination of styles. Then suddenly out of nowhere Trajal screams out to stop the show and all the lights go out. It is here where the Antigone aspect of the show begins to emerge and bring an interesting and bizarre element to it all. For regular theatregoers this radical pulling apart and extreme deconstruction of the Greek classic would probably be too much but there is a commitment in it that is addictive. In a way that doesn’t seem possible all three inspirations feed into each other and seem to blend in a way that is unique and totally refreshing.
