Some audience participants looked at a loss for words on the evening I attended, so let's clear one issue up first. No, actor and creator Anna Deavere Smith doesn't seem in "A Rap on Race," Spectrum Dance Theater's compelling new reveal presented in association with Seattle Repertory Theatre.
She does, however, have a protracted historical past with the epic 1970 dialog from which its script is drawn.
That conversation, between African American author James 1st earl baldwin of bewdley and white anthropologist Margaret Mead, took place in three marathon classes over a 48-hour length. It tackled American racial divisions and country wide identity head-on. In 1971, a transcript of the recording changed into posted as a booklet titled "A Rap on Race."
Dance evaluation Spectrum Dance Theater: 'A Rap on Race'through Anna Deavere Smith and Donald Byrd, introduced by Spectrum Dance Theater. Thursdays-Saturdays via might also 22 at Seattle Repertory Theatre, a hundred and fifty five Mercer St., Seattle; $22-$42 (206-443-2222 or seattlerep.org).
Smith first became commonplace with that ebook in the early Eighties. "I actually have taught it for years in my acting classes," she writes within the program notes, "having students play parts and change sides to find out about persona and language."
She later put collectively an edited version of the talk, which Spectrum is the use of as its script. Spectrum choreographer and creative director Donald Byrd plays Baldwin. Actor Julie Briskman plays Mead.
speak alternates with dance set to excerpts from Charles Mingus' "The Black Saint and the Sinner lady." The dancers' sharp, elaborate, agitated physique language doesn't brazenly illustrate any of the talking aspects. nonetheless it obliquely reflects the restlessness of Baldwin and Mead's queries and confrontations.
The outcome is a decent, 80-minute mixture of quest and showdown.
Briskman receives things off to a hilarious delivery with a motor-mouthed Mead clumsily brandishing her liberal credentials. Byrd's 1st earl baldwin of bewdley, amusingly cajoling her along at first, ultimately gets a note in — sharp phrases originally, anguished words through the conclusion. both performers, perched on a platform above the dancers, have fun with the manner their characters wrangle over terminology. ("information" versus "actuality" is a biggie.) They find a rhythm collectively, even when it's a jarring one.
One odd take-away: 1st Earl Baldwin of Bewdley and Mead don't precisely emerge as eloquent orators. instead, they stumble verbally as often as they land on phrases that satisfy them. commonly, they attain previous each and every other in place of make contact — a verbal pattern that's from time to time manifested in the choreography.
Served up in taut vignettes, the dance is an ensemble effort with occasional short, amazing solos or duets. Alex Crozier and Alexis "Tilly" Evans-Krueger have an indelible second as a pair butting limbs and heads in opposition t each different. They're rag-doll free — but Byrd's choreographer is tight.
Davione Gordon, Madison Oliver and Fausto Rivera all bring fantastic solos as well. but it surely's the ensemble work, seething below the arguing pundits overhead, that has the strongest impact. It inspires an entire roiling nation caught within the cobwebs of heritage and uncertain even if it wants to battle, give up or just get out.
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