Reviewed by Adrienne Totino
For over 30 years, renowned choreographer, Bill T. Jones, has built a prolific repertoire of dance works. Throughout his career he has received a number of accolades, including a MacArthur Genius Award, the Kennedy Center Honors, and two Tony Awards for Best Choreography. Jones has tackled difficult topics in his work, including the AIDS epidemic and the sex trade. This piece was equally challenging in subject matter.
ANALOGY/DORA…is based on the life of Dora Amelan, a Holocaust survivor who worked as a nurse in detention camps in southern France. The piece was choreographed last year, and was presented at the August Wilson Center this past weekend.
The company members took turns telling Amelan’s story. As movement swirled around them, one dancer at a time spoke into a hand-held microphone. The text relayed Amelan’s own words in a harrowing account of her bravery and what she sometimes described as “luck.”
Nick Hallett and Emily Manzo performed live music from the open wings, a mix of classical French songs and present-day electronica. The sound worked well to support the emotion of the spoken word.
Though Amelan’s story was one of survival, it was not without tragic loss. Early on, the dancers rolled a cot onto the stage as a portrayal of her mother’s death. Here, the accompanying movement was technical and clean. Despite the dancers’ exceptional execution of the movement, the choreography did not fully reveal the despair of the moment.
At times, the piece did a better job conveying the horrors of the war. Portable walls (created by Bjorn Amelan) served various purposes throughout the show. In one vivid section, Amelan’s story recounted her father’s illegal travel to France. Antonio Brown performed a solo in which he struggled against one of the structures falling on him. The movement was simple, the image impactful.
Another section that worked well came near the end, when the dancers depicted Amelan’s sister’s death. From one corner, I-Ling Liu performed a solo of minimal gestures. Eventually, Rena Butler picked up on the movement from across the stage. And Jenna Riegel eventually began the same phrase. In that moment, there was a trace of solidarity between them, despite heavy grief.
That section turned to a unison phrase of big jumps in and out of the floor. The choreography was neatly arranged. One would have imagined disorder or dread even amongst a coming together. The choreography could have been bolder.
The piece continued in that same manner. While some sections revealed deep sorrow, others fell short. Amelan’s description of the deplorable conditions of the barracks was haunting. But the movement didn’t portray the same ghastly quality. Later, though, a series of slow motion partnering duets showed the care and support each of the survivors gave one another.
To close, peace was declared. The dancers attended a party where Marcel Marceau and his brother performed. Marceau’s character made appearances throughout the show. Like the rest of the cast, Carlo Antonio Villanueva performed his role well. His movement was precise and subtle, just as mime should be.
The dancers joined hands in the end and formed a line, weaving around the moveable walls. This had a folk-dance effect, communal and complete with exuberant smiles. The lights went down on the dancers’ silhouettes. The joy in their conclusion felt abrupt.
Continuing to share Holocaust stories is incredibly important. Jones’s depiction of Amelan’s personal story was a touching tribute and a necessity in keeping the devastation of the time well documented. Though the movement was worthy of a more stirring depiction, the heart of the piece was clear.