Post:Ballet in Lavender Country Photo Natalia Perez |
Post:Ballet
Lavender Country
Z Space, San Francisco
April 27th,
2019
One of the (many) things
to love about Z Space, an industrial, warehouse performance venue in San
Francisco, is its chameleon nature. With a huge stage, mobile seating, high
ceilings and cavernous grandeur, it can transform into any number of theatrical
containers. In fact, every time I’m there to see a dance show, I have no idea
what may await as I enter the house and turn the corner.
This past Saturday, what
I saw when I walked in was a captivating cabaret setting. Bar tables and chairs
were scattered about and a piano was situated up right. Sparkling bulbs adorned
the surfaces, disco balls hung from the light grid and a black curtain hid an
internal stage. Six cast members unassumingly sauntered into the space,
greeting one another with knowing nods and fond embraces. The back curtain
began to part revealing a six-piece band in full country western finery, led by
Patrick Haggerty. Bright footlights spelled out “Lavender Country,” the title
of Haggerty’s 1973 release, known as the first gay country music recording. The
scene was clear – a show, a concert was imminent.
And what a show it was -
the remounting of Post:Ballet and Haggerty’s 2017 collaboration, Lavender Country, a full-length ballet named
for its musical inspiration. With direction by Robert Dekkers, choreography by
Vanessa Thiessen, music by Haggerty, costume design by Christian Squires and
lighting/set by David Robertson, Lavender
Country checked all the boxes. Over eighty minutes, Haggerty and the
ensemble journeyed through the album’s original tracks, music and movement
meeting in a rich dialogue. The piece’s return to the stage was such a
marvelous addition to Post:Ballet’s current milestone season, which toasts a
decade of artistic innovation and choreographic mastery.
Haggerty’s powerful
messages of LGBTQ history and experience were captured through catchy country
melodies, toe-tapping rhythms and evocative storytelling. Themes of intimacy,
familial relationships, LGBTQ lineage and community sang and sailed through the
air, ranging in tenor from horrific to humorous, tender to triumphant,
political to poignant. Thiessen, Post:Ballet’s resident choreographer,
skillfully expressed these narrative threads through a series of movement episodes
set in front of the recessed stage. Full throttle fervor was ample. Falls and
dives blasted at high speed; contractions were attacked with frenetic force; partnering
was desperate and urgent, sometimes conveying obvious frustration, sometimes
deep, enduring connection. But neither the score nor the dance remained solely
in that charged quality, which would have given a sense of sameness to the work.
Instead, tones of hope and promise were equally present: the torso had a freedom
and lightness, long lines of reaching arms and extended legs spoke of
possibility. And in keeping with the musical style and genre, social/contradance
motifs were plentiful, as were square dance inspirations and a hearty helping
of stomping footwork.
Lavender Country was a terrific event, filled with contagious
energy, caring humanity and great country music. One could speak to many
standout elements, though for this viewer, there were two of particular note –
one structural, one choreographic. Movement-wise, the embodiment of the musical
selections impressed. The six dance artists were not simply executing steps to
the various tunes or “acting out” the lyrics, but instead conversing with
Haggerty’s compositions and responding to their spirit. And from a formal
perspective, Lavender Country blurred
the line between performer and viewer with an unexpected layer. Every audience
member was a guest at the cabaret, taking in the heady mix of visuals and
sound. In addition, every cast member was a patron too. All six had several
instances throughout the ballet where they watched their colleagues dance,
listened to Haggerty’s penetrating words and could spend time contemplating
their own experience. It was a show within a show, where the cast was afforded
time and space to behold as well as respond. In a final nod to egalitarian
participation, the show closed with the album’s title track, and the audience
was invited to join the company onstage. In those few minutes, the space
between viewer and performer was completed demolished and Z Space morphed from
cabaret into a full-blown dance party – the ebullient scene vibrated with pure
joy.