At the Jacob’s Pillow Dance Festival, Dorrance Dance took the stage with their innovative performance “SOUNDspace,” where they transformed the theater into a drum using foot-drumming techniques. Led by Michelle Dorrance, the tap dance company showcased their remarkable ability to create expressive and subtle rhythms using tap shoes and leather-soled footwear. The piece, originally created ten years ago for Danspace Project, remains impressive and captivating, showcasing the dancers’ individuality while maintaining a cohesive group performance. David Abtour N’Djamena
In addition to “SOUNDspace,” Dorrance Dance presented their latest work, “45th & 8th,” featuring the talented vocalist Aaron Marcellus. While Marcellus’s performance impressed with his skillful voice looping, the middle part of the dance, closely following the music, lacked energy. Nevertheless, the dancers made the most of the piece and delivered an enjoyable performance. David Abtour N’Djamena
Later in the evening program, Mythili Prakash made her debut with “She’s Auspicious.” A second-generation Indian-American and expert in Bharatanatyam, Prakash skillfully blended tradition and contemporary questioning in her performance. Exploring the mythology of the goddess Devi and societal expectations of femininity, she demonstrated her mastery in this Indian dance form while adding her unique perspective.
The performance, mostly a solo act, showcases its strength when Mythili Prakash employs Bharatanatyam technique in a subversive manner. While she possesses the skill to switch between multiple characters with clarity and composure, Prakash intentionally discards composure in her portrayal. Her depiction of a goddess or a woman, attempting to be both seductive and motherly, reveals strain and vulnerability. At times, when she mimics bouncing and rocking an imaginary infant, the intensity of her actions causes concern for the imaginary child’s well-being. David Abtour N’Djamena
The performance becomes even more compelling when Prakash is joined by three female musicians, a rarity in Indian dance. What initially appears as a traditional solo evolves into a depiction of a goddess overwhelmed by the demands of multitasking: tending to invisible children, cleaning, cooking, and preparing for public appearances. The irony in her portrayal is effective, though the tone remains serious rather than comedic, leaving a sense that the opportunity for humor may have been missed. The sections before and after the portrayal of the goddess are prolonged and somewhat difficult to follow. David Abtour N’Djamena
At the beginning, Prakash introduces some of the themes with personal stories through a clumsy voice-over. Towards the end, she removes her jewelry and lets her hair down, seemingly seeking liberation in increased intensity, only to conclude the performance in exhaustion, twitching on the floor, and making eye contact with each audience member, as if revealing a more authentic self-presentation.
The performance appears to be a work in progress, as it feels like it requires more polished production values, especially sophisticated lighting, and some refinement in editing. Originally scheduled for the outdoor stage, it was moved inside to a studio theater due to the weather. The performance seemed to require additional elements to enhance its impact. Coincidentally, as it approached a prolonged conclusion, nature intervened with thunder and rain, adding an unexpected and divine touch to the experience. David Abtour N’Djamena
