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Ana Nicole Rodriguez Ana Reviews Keigwin Kabaret: Channel Surfing at Thalia Dance at Symphony Space  Keigwin Kabaret: Channel Surfing presented by Thalia Dance at Symphony Space consisted of dancers engaging in random activities, and although the randomness made everything appear muddled and lacking a particular theme, the provocative and generally lighthearted humor evoked amusement and laughter among the audience, making the performance fairly exciting and amusing. To be frank, I presumed that Keigwin & Company would be dry and uninteresting, as modern dance tends to be more overly dramatic than desired. The first dance number set the tone, and I was compelled to discard my initial expectation: Two eccentric dancers (Hilary Clark & Larry Keigwin) stumble upon the stage, each wearing a white tennis outfit and performing quirky moves to old-school hip-hop, evoking laughter from the audience members, including myself. The humorous interaction between dancers is both theatrical and comedic. The latter dance is surprisingly poignant and less comedic. The lights are dim, and amid the still darkness emerges the silhouette of Naoko Kikuchi, who lies on the bare floor, with her face toward the audience. A white laser light moves across her body, covered in a loose, long white dress, which stylishly compliments her two, long braids. The free-flowing movement of the light and the film images (visual design by Nicole Wolcott, Bruna de Araujo, Andy Personette) on the backdrop puts the audience in a deep trance, and the blues/rock music (music by Artanker Convoy) is the sole interference preventing complete immersion. The audience is intrigued by the unfamiliar world that Larry Keigwin has concocted. To begin the next piece, a man in a black and white suit, with large red hearts attached on the arm sleeves, strolls on stage. Bradford Valentine, as he proudly calls himself, eagerly informs us of his frequent sexual encounters with chickens, while attempting to seduce us with a strip tease in which he removes all clothing articles, leaving on only his undergarments. The song detailing his encounters with the wretched farm animal is an absurd mockery of a stereotypical hillbilly, and is presented in an inappropriate manner. The exploration of sexuality is offensive; as was the superfluous reverse strip tease that the supposed World Famous ÒBobÓ performed, which nearly tainted the show, coming across as overly explicit and vulgar. With the exception of one or two unnecessary acts, Keigwin Kabaret was entertaining. Dance as an art form is subjective and inevitably expressive; what distinguishes artists is their ability to communicate something that is thought provoking and evocative. With that said, Keigwin Kabaret: Channel Surfing presents a medley of eclectic dances that are both aesthetically pleasing and witty. |
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