Are You With Me

Company:  Rosenkrans Dans

Choreographer:  Angela Rosenkrans in collaboration with the dancers

Performers:  Chanel Craig, RaShawn Hart, Herschel Jackson

A priest could mumble the mass in street clothes, and while that may be heard on high, it has nowhere near the impact on the congregation as the same ritual performed in elaborate priestly garb. The performers in Angela Rosenkrans’ arresting work, Are You With Me, were in full regalia – thanks to the spectacular costuming created by Herschel Jackson, who also performed in the piece. (Which costumes I will not even attempt to describe here. Suffice it to say that they were priestly – assuming you were an obscure cult or an alien society) While I am sure the costuming did not make the performers dance any better, it definitely enhanced our appreciation of the performance and thus it became a better dance.

This priestly association/analogy is not arbitrary. For me, this work seemed deeply ritualistic, the performers at some points summoning – what? A spirit? A power? At other times warding off – what? Something threatening? Something “other”? This perception was mightily enhanced by the eerie score that imbued the piece with an unrelenting, fearsome urgency. Rosenkrans set something cosmic in motion here and embraced a certain darkness in the process.

I truly appreciated the level of commitment this piece represented. Besides the careful integration of costuming and music, none of the movement seemed incidental. Everything felt intentional – each dancer’s facial expressions and body language focused on that particular gesture and through and beyond it to the unseen “other” that it addressed. The silent communication between the three performers also communicated to the audience – we were very much aware of their mutual, coordinated struggle. The last scene where the trio faced each other in a final, dramatic silence, was unsettling in that we realized that for all their concerted, even desperate, effort – no resolution was at hand.

To her credit, Rosenkrans carefully designed this piece to work within the chosen space – a narrow, raised tier of the courtyard. This provided some dramatic elevation – great for viewing and a bit of ambiance. However, it also forced a horizontal linear arrangement on the dancers. It was a creative tradeoff that accommodated the performance to the environment, but it was obvious that this piece could easily be adapted to a more conventional space – particularly, the stage. I can’t help but wonder how it would have presented itself differently if she had another dimension to work with. Missing also was the opportunity for Rosenkrans to exercise her earned reputation as a lighting designer in a piece that begged for (and would justify) more of the theatrical tools associated with high drama. But she worked with what she had, and what she had, worked.

Angela Rosenkrans will always credit the input and collaborative effort of the dancers, but her sure, guiding hand with the choreography and exceptional technical abilities turned Are You With Me into a standout piece in an evening replete with excellent performances.

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