Monday, May 16, 2011

Mute Men Speak Volumes

by Charlotte Titus - University of Alaska Anchorage

The statement displayed on the giant stage screen at the beginning of The Blue Man Group's show, set the tone for the theatrics the audience was about to witness. The statement from the Diplomacy handbook was about how to make a connection with a group of people by using shared experience to bridge cultures and differences. BMG took this page from the handbook to heart and shared the experience of the show by blurring the lines between performers and audience members throughout the evening.

Blue Man Group created this shared experience through various means throughout the evening. The audience participation began with reading 'instructions' for watching the show which scrolled across the top of the stage. Written with a funny conversational tone, intending to create laughter, the audience last Tuesday night gamely played along. The late arrival of two audience members brought more laughter to the theater as it was pointed out loudly with horns and video and the three blue men stared out at them from the stage as they made their way to their seats. In another skit, the blue men created artworks with spit paint, seeking approval through clapping and then gave the artworks away to people in the audience.

There were opportunities for a couple of audience members to get on stage and really take part in the action by becoming part of the group. The first audience member played along with her skit as she sat at a table with the three blue men while they served themselves Twinkies, eating their own, each other's and eventually all eating the yellow goo that gushed out of a hole in their shirt fronts. The second audience member was taken on stage, dressed in a white coverall, initiated into the group with a blue thumb print on his cheek. Then a helmet was put on his head and he was lead backstage and used to imitate a version of Yves Klein's anthropometries, or body paintings. To do this, they rolled blue paint on his coveralls, suspended him upside down and 'swung' his body at a canvas, creating an impression which was then further outlined with a contrasting color of paint. All of this was shown on the giant stage screen for the audience to 'witness.'

Although the show conveyed its message quite clearly, the entire show was performed mutely by the blue men, with an occasional announcer's voice that gave instructions for the audience to follow, or electronic devices that displayed words. There appeared to be a message even in the muteness of the blue men: sometimes you don't have to say a word to get your point across. And the blue men proved they are masters at it.

Blue Man Group
Anchorage Concert Association
Atwood Concert Hall
Tuesday, May 10, 2011 @ 7:30pm

Monday, May 2, 2011

Bridgman/Packer Dance: Sleight of Dance

by Lisa Maloney

It’s hard to imagine the intimacy that goes into a single dance, any dance, until you’ve experienced it. Bodies move, hips tilt, torsos sway and sometimes touch--and that’s only the physical dimension.

Imagine, then the connection that comes from collaborating and choreographing together for more than 30 years. Art Bridgman and Myrna Packer have been doing just that since 1978.

Do the math and you’ll realize that both of them must be at least 50 years old. It might seem kind to say that you can’t see their age when they dance but you can, and they’re the better for it. Anything that isn’t dance has long since shriveled and fallen away from their limber, athletic bodies, leaving the married Guggenheim Fellows with nothing but naked movement and emotion.

Dance doesn’t happen in a vacuum, and on Friday night Bridgman/Packer performed two pieces, 2005’s Under the Skin and 2010’s Double Expose, to clever jazz soundtracks. The sometimes syncopated, unpredictable yet undeniably rhythmic music built a framework for the duet’s well-tensioned, sensual movement style.

Live cameras projected front, back or overhead views of the dancers onto their bodies, clothing and a screen behind them: A man marveling at suddenly possessing a woman’s legs or the woman sprouting four arms. Pulling this off requires such precise timing and positioning, catching and interacting with projections and partner just so, that there’s really no way to describe it. All you can do is hold your breath, marvel, and wonder.

Bridgman/Packer are as much illusionists as dancers, chasing each other, each others’ projections, and their own recorded images both in front of and behind the projection screen, which played equal parts doorway, cityscape and bedroom.

After so many years together, it makes sense for Bridgman/Packer to blend together into a single name, right up there with the Brangelinas and Tomkats of the world. But despite the enduring partnership these dancers seem to have retained their individuality, and it’s the blending of those two beings, and the illusion that leaves you unsure of exactly when the dancers become ghosts in their own work, that made their Friday evening performance such a pleasure.

Bridgman/Packer Dance
Out North
Friday, April 29, 2011 at 8:00pm
Discovery Theatre