After having the Thursday performance cancelled due to illness and multiple phone calls attempting to exchange my ticket, I arrived at the Arthur Miller Theatre for Friday’s performance of Idiot-Syncrasy hoping it was worth all the trouble I took to get there. It was that and more.
At the end of the show, I turned to my friend and said, “I think that that is one of the most beautiful things I’ve ever seen”.
Photo Credit: Mady Martin
Walking in the doors, we were greeted with a sign stating “Attention: Bounce at Own Risk”. Littering the lobby were giant exercise bounce balls. What’s more, they were covered in costumes- there’s no other word for it; some were horses, unicorns, or dinosaurs that you bounced on. There was a bowl full of small bouncy balls for audience members to take and play with before the show. When taking our seats, we were intrigued and eager, but unsure what to expect.
Idiot-Syncrasy appears as a deceptively simple performance. When described to others, the premise sounds ridiculous: Two guys stand against a white drapes, on a white floor, and bounce. Quoting from UMS’ website: “The Urban Dictionary describes “idiotsyncracy” as “any method or procedure based in ritual or dogma that continues by force of momentum beyond the limits of common sense”’. So they’re right: the premise is nonsensical. But yet, it makes perfect sense.
Arriving on stage, Igor and Moreno looked actively around the audience, waiting in silence. With their stares they engaged every section of the house. And then they waited. Long after the murmuring and twittering of people arranging themselves in their seats had died down. As the title implies, the performance is full of moments that push and break our instinctual limits of an action. Then, between one breath and the next they began quietly to sing.
Another trademark of the show was the gradualness with which they moved and the slow rise of their actions’ momentum. It’s almost imperceptible if you stare, trying to catch when the change happens. Then, when you look at a different area of the stage for a second, when you look back you notice the change as if it was drastic and not the slow movement it was in reality. One moment they’re singing and tapping their feet, the next they are bouncing. And they never stop.
Photo Credit: Alicia Clarke
The physical and mental endurance it took to perform that hour long show, never stopping moving, most of it based in the repetitive up and down movement of jumping, is mind boggling. Though during the after show Q and A, they mentioned how the idea for bouncing came in relatively late in the creative process, this was the anchor for the performance that spoke to perseverance, the slow change it causes, the sense of momentum, and interweaving layers of meaning that this show explores.
There were beautiful moments where they held each other, leaning on each other, or revolved around each other in mesmerizing movements but there was also humor: The meticulous folding of their clothes after frequent quick changes, handing out red solo cups and Vernors to the entire audience- all done while bouncing mind you. This perfect blend of humor and perseverance, combined with their unabashed eye contact with the audience, created a true sense of intimacy. In the best way. It was devoid of the awkwardness that audiences normally feel when the fourth wall is broken and they are forced to engage with the performer- I didn’t feel uncomfortable when he was standing inches from me, bouncing, looking intently. I felt apart of what was happening and it was powerful. And that is what made it beautiful.
For more work by Igor and Moreno, check out their website.
“We started with wanting to change the world with a performance. We felt like idiots.”
And so was born Igor and Moreno’s “Idiot-Syncrasy”. They premiered the piece in 2015 at the Edinburgh Fringe Festival, a renowned festival for exploration in performance and creativity, and haven’t stopped dancing for joy since. Literally. After opening by singing a folk song from the Basque Country, Igor and Moreno bounce for the entire rest of the work. Perhaps they won’t change the world but their performance speaks to the idea of perseverance and empowerment.
Sound different, sound interesting? They are coming to Ann Arbor THIS week at the Arthur Miller Theatre. Don’t miss out!
But if you can’t make the performances or the cold is keeping you from traveling to North Campus, you still might have chance to experience “Idiot-Syncrasy”. Saturday evening there will be a free livestream of the performance. Click to find out more.
And the fun doesn’t stop there: Thursday on their opening night, there is a pre-performance talk at 7pm and Q&A after the performance. So grab your tickets quickly!
Details:
Dates: THURSDAY, JANUARY 12, 2017 7:30 PM
FRIDAY, JANUARY 13, 2017 8:00 PM
SATURDAY, JANUARY 14, 2017 8:00 PM
Where: ARTHUR MILLER THEATRE
Photo taken from https://www.facebook.com/umichsmtd/?fref=ts
Have you ever wondered what life was like for Peter Pan before he actually was Peter Pan? How the Lost Boys, Tinkerbell, and Neverland came to be? How Captain Hook lost his hand? Your questions are bound to be answered in the tale of Peter and the Starcatcher; directed by Gillian Eaton, assistant directed by Martin McGuire, and musically directed by Brian E. Buckner, James Fischer, and Riley Palmer.
Jeffrey James Fox as Black Stache (photo taken from https://www.facebook.com/umichsmtd/?fref=ts)
This lighthearted show swept the audience off their feet and into the adventure-filled life of Molly (Kourtney Bell), a young girl who is on a secret mission with her father (David Newman) to destroy what is called “starstuff”. On Molly’s ship, The Never Land, she comes across three orphans, one of which is unnamed (Brooks Inciardi), and immediately befriends them. Pirates, island natives, a crocodile, and mayhem are all prevelant throughout the journey. The story of Peter Pan magically unfolds before your eyes in this easy-to-love show.
Kourtney Bell as Molly and Brooks Inciardi as Boy (photo taken from https://www.facebook.com/umichsmtd/?fref=ts)
Shows run in the Power Center on December 8 @ 7:30pm, December 9 & 10 @ 8:00pm, and December 11 @ 2:00pm. Reserved seating is $22 and $28, and students $12 with an ID.
Tickets can be purchased online at http://www.music.umich.edu/performances_events/productions/2016-2017/starcatcher.htm
Last night’s competition featured three judges: Valerie Postos, A.J. Ashman, and Josh Thurman. The trio gave feedback to each team after their performance, which might have gone faster had their voices been audible.
The first group to dance was Dance 2XS. They are a co-ed hip hop team that had excellent timing throughout their routine. I also thought it was interesting that they formed pairs regardless of gender, unlike the other teams. Their facial expressions also conveyed their enthusiasm. There was a very well-timed fall at the end, which excited everyone. One piece of feedback the judges gave was that their routine had a “great story,” but I personally didn’t know there was a narrative at all.
The second team was the RhythM Tap Ensemble, a student run tap dance group. They choreograph their own routines, which is no small feat. They have a show on January 15 at the Power Center, as well! The beginning of their performance was dramatic, with a small portion of the team standing silhouetted. The one note from the judges I agreed with was that the upper body is just as important to focus on as the lower body, even though their genre was tap dance.
Thirdly, and to the extreme excitement of the audience, was Izzat, an all male fusion (hip hop, Bollywood, bhangra) team. The hype was so intense it was difficult to hear the music at first. Izzat had a lot of stunts, like flips in their routine.
Izzat
Their feet would barely even touch the stage, and their enthusiasm was tangible. The team highlighted their skill during tempo changes, which they mirrored with their body language. They spent time dancing on the floor as well, which looked very fluid and synchronized. There was even an old team member in the audience, who knew all the moves and was very vocal about loving his team.
Izzat appreciation
After Izzat was Impact, a small company of female non-dance majors. The first part of their routine was contemporary and showed off the dancers’ flexibility. Their music was a lot slower and emphasized flow. I thought it was cool how they used their entire body when dancing, even their hands and heads.
The second part of their routine definitely had a more confident vibe to it. It seemed more fun and less modest. The judges enjoyed that the team combined different styles of music, which I agree made their performance more memorable.
The fifth team was Flowdom, est. 2015. They are a multicultural hip hop and freestyle group. They wore more grungy, black costumes, which my friend said reminded her of Rocky Horror. They didn’t necessary have a uniform, but their styles all matched. The team was initially rigid like marionettes, dancing to a haunting Nutcracker chime remix. They later broke character for fluidity, which confused me because they lacked a consistent theme. It did, however, make their performance more interesting. The judges called their routine clever, a favorite being a segment in which the protagonist used a team member’s leg as a handle for her jack-in-the-box.
The sixth performance was from Michigan’s premiere all-female Southeast Asian fusion dance team: Michigan TAAL. Their team wanted to emphasize the importance of both strength and femininity. Their black costume’s matched Izzat’s. They used their hands a lot, which was a nice change. The team was very confident in their routine, and their ending was a synchronized point to the sky. The judges approved of their smooth transitions.
Taal
The final team was EnCore, another audience favorite. They initially came onstage wearing baseball caps and jeans but promptly threw their hats off their heads. There was a team member who did the splits… while wearing jeans. They were clearly a well-established team and are very comfortable with one another, which made their energy incredible. They even did a mannequin challenge in the middle of their routine, which caused the audience to erupt. The judges enjoyed their pose uniformity.
EnCore
The winning team was Michigan Izzat, with EnCore coming in second and Flowdom in third.
This event will feature seven of Michigan’s very own dance crews battling it out to win first place! First, second, and third place prizes will be awarded! Flowdom and Izzat are among the participating teams.
The event begins at 7pm tomorrow and will end around 9:30pm at the Lydia Mendelssohn Theater. Tickets are $2 at the door. Hope to see you there!
