SpringWorks
May 4-6, 2006 at 8:00 PM
May 7, 2006 at 2:00PM
“Sometimes theater provides an experience where you hold your breath because you don't want the spell to be broken by some misstep or even a cough. Audiences may find themselves breathless for most of the 33 minutes of "Landscaping for Privacy,"... as intellectually engaging as it is physically enthralling, a dance theater piece that manages to be both sublime and confrontational in posing questions about American society.”
Sam Blackwell, The Southeast Missourian
SpringWorks features original dance and physical theatre by Callous Physical Theatre and special guest artists BQDance Company directed by Carla Barragan. $15 at the door; $12 advance sales. All tickets are general admission. Thursday, May 4, Friday May 5 & Saturday May 6, 8:00 p.m. Sunday May 7, 2:00 p.m.

Callous Physical Theatre will perform the northwest premiere of three works. After Hours, by Joséphine A. Zmolek, is a celebration of the blues and jazz songs of Nina Simone. Paul Zmolek’s Not Yet Become is a postmodern dance expression of utopian striving of the arts described by writer Ernst Bloch. With the physical theatre piece Landscaping for Privacy, the Zmoleks utilize the words of W.S. Burroughs and commercial jingles of the 50s and 60s to explore the suburban dystopia.

Friday through Sunday, BQDance Company will present a revised version of Carla Barragan’s Kuxan Suum, named for a Mayan concept about our connection to the universe. Throughout SpringWorks, The Box, Barragan’s collaboration with videographer Jeffrey Braverman will be featured.

On Thursday Mary A. Chase will perform Managing the Moment a structured improvisation she premiered at the February 2006 version of 10X10.
“Not Yet Become, There was a solo on the floor – elastic, absolutely wonderful, unusual, fully given to momentum and to the moment, very present. I liked the abstract complexity of the work. I congratulate the choreographer.”
Sondra Fraleigh
“Kuxan Suum. Barragan seems to combine some of the self-oriented aspects of contact improvisation with the more presentational quality of traditional modern dance. To a rhythmic guitar score by Atomic Chamber Ensemble, Barragan’s performers surge through the space again and again, alternating between twitchy natural behaviors and theatricalized extensions of them.”
Sandra Kurtz, Seattle Weekly
“The Box.....whimsical and disturbing ...[Barragan] gives a kinetically fearless performance. She eats up the space, rolling in the gravel of an abandoned lot, scrambling along a chain-link fence or stretching luxuriously over what looks like a rusty barrel. Braverman’s editing subtly speeding up and slowing down the image, reinforces the lurch in the pit of our stomachs.”
Sandra Kurtz, Seattle Weekly