Dance Review: Objects of Desire By Continuum Dance Theater

Reviewed by Adrienne Totino

For the past nine months, Sarah Parker, Artistic Director of Continuum Dance Theater, has been working on her latest evening length work, as part of the New Hazlett’s CSA (Community Supported Art) series.

Saturday night, for one show only, “Objects of Desire” premiered at the theater. The choreography came from Parker’s musing on the subject of desire, and what people truly want in life.

While the choreographic process is often limited to behind closed doors, Parker and her company went straight into the community to create the piece. In several free open rehearsals, at places like the Fairmont Hotel, a juice bar, and the Kaufmann Center, they presented works-in-progress, and asked audiences to answer three questions. What have you desired in the past? What do you desire now? What do you desire for the future?

Dancer, Jess Marino, said the answers ranged from superficial to deep. A preschooler said he wanted a briefcase, and an elderly woman said she wished for good health. The company sorted through hundreds of answers and pulled out a few commonalities they then used to create the dance. Some themes included money, power, materialism and relationships.

The fifty-minute narrative centered around dancer, Michelle Skeirik, with the four other company members representing Skeirik’s desires. To begin, each dancer entered from different parts of the theater – the stage, the balcony and the audience. The set was quite elaborate, and included household objects like couches, chairs, shelves, a desk and a full-length mirror. We felt as if we were in Skeirik’s home.

In each section, the dancers explored different “objects” they desired. Parker wanted the choreography to feel like a movie. Her hope was that the audience would understand each theme clearly, so she used props as literal representations.

Piggybanks were tossed back and forth between each dancer in an exploration of money and power. The movement was bound and aggressive, fast and feverish, and gave the feeling of cut-throat attitudes and ultimate desperation.

The performers donned fur coats and pearls for a section about materialism. A woman they saw at the Fairmont hotel, dressed in fancy attire and head held high, inspired the movement. With tongue and cheek attitudes, the performers primped and posed, as if modeling their goods. Eventually, the pearls became heavy in their hands, weighting them down.

The most beautiful and poignant moment happened under low lights and in front of two tall mirrors. Heather Jacobs performed a solo to the haunting voice of Israeli singer-songwriter, Asaf Avidan. Jacobs’ movement was light, yet melancholic. Eventually, Skeirik joined her in a duet of conflict that shed light on the struggle of relationships. Skeirik became entangled in a bouquet of balloons until Jacobs finally freed her.

The lights came up slowly, revealing Jess Marino covered in a pile of bras that represented sex and sexuality. She and each dancer performed the section in seductive tops, weaving through the space in magnetic solos, whispered duets and partnered groups.

In the end, none of the objects held the same importance as they did at the beginning. Skeirik hesitantly tucked everything into a box, peering in for a few final glimpses of the objects she once desired. Again, Asaf Avidan’s voice filled the theater with lyrics about becoming old and the potential to share stories of a time passed. Skeirik finally closed the box and walked away as the lights faded.

Parker’s choreography exposed the superficial desires we all have at different times in our lives. But in the end, she reminded us the objects we crave may be meaningless on our path to true happiness.

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