THEATRE REVIEW:
KPBS
AIRDATE: November 07, 2003
One production
asks the question; the other has the answer. Asian American Repertory Theatre's
latest offering is "But Can He Dance?" and Malashock's 15th
anniversary dance presentation says “You betcha!" As disparate as the two
productions might seem, there's a shared element between them: the passion and
pain of finding true love. That's the heart of Dorinne Kondo's comedy "But
Can he Dance?" and the deliciously offbeat focus of the film, "The
Soul of Saturday Night," recently created by choreographer John Malashock
and UCSD-TV director John Menier, to the low-down, world-weary songs of
gravel-voiced Tom Waits. Shot on the seamier side of San Diego, from Santa Fe
Station to the Pickwick Hotel, the dance-film follows two couples as they fall
in and out of bed, love, ardor and angst. It's suggestive, sexy and
award-worthy.
The film is
just one part of the dichotomous dance evening called "Sacred and
Profane." Malashock is at his best when he's whimsical, as in his 1998
creation, "Love and Murder," set to the twisted ballads of Nick Cave
and the Bad Seeds, where sweet songs bespeak violent acts. The company is in
fabulous form, with featured performers Keturah Stickann-Skadberg and Michael
Mizerany pairing off beautifully in multiple segments. The Dance Suite from
2000's exquisite, Patté Award-winning "Blessings and Curses," goes to
the heart and soul of the choreographer, with its rich story steeped in Jewish
culture and history. The gut-wrenching biblical tale of Abraham and Isaac
remains particularly potent.
Potency has
everything to do with a young Asian woman's quest for True Love in "But
Can He Dance?" The characters are archetypes, named She and Man 1, 2, 3
and 4. They are emblematic of the search for connection in a world of clubs and
cafes, where Macho Men of all colors abound, lesbians are there for the taking
and false expectation and self-deception are the name of the game. Can you keep
your sanity and your sense of self in a relationship? The guys serve as Greek
chorus as She stumbles from one unhealthy interaction to another. There's no
happy ending here, and no new ground broken. But Kondo has a way with dialogue,
comedy, sex and the dating scene… and director Anne Tran finds plenty of
opportunity for dance -- of the vertical and the horizontal variety. The cast
is captivating; San Diego newcomer Tiffany Loui is delightful, and should get
more work around town soon. As her paramours, Susan Hammons makes a nifty
dominatrix, G. Madison IV is a smart black guy with 'tude and a few other
failings; Juan Manzo is adorable as an irresistible but irresponsible Latin
lover and Jeff Lorezco is sweet and sympathetic as the nerdy Asian nice-guy.
Maybe dance
isn't everything… but it sure makes for moving theater.
I'm Pat Launer, for KPBS news.
©2003 Patté Productions Inc.