by Amontaine Aurore
Pat Graney’s new work makes no apologies. It is a bold and explosive treatise on the seething underbelly of female anger. That anger is born of many things, not the least of which are the explicit as well as insidious messages that expressing it would be unattractive. It is derived by stuffing ourselves into the too-small cultural boxes aimed at keeping us cute, sexy, small, and silent. It is maintained through trying on and wearing the accoutrements that have come to define femininity, yet have served to own and encapsulate it, leaving us at the mercy of a soul crushing dilemma.
Through a series of vignettes that grow progressively darker, five female dancers, a child, an older woman and a doll, take us through cycles of female disempowerment; from cutesy baby doll poses and sex-fueled smiles that hide and confuse patterns of abuse, to hidden and grotesque food rituals, to screams that are at last released in all their horrific glory, to limbs and high heels that writhe and...
The Seattle Times reviews Girl Gods:
"...The interplay between the performers and Holly Batt’s marvelous interactive wall structure is one of the more inventive and captivating elements. From its nooks and crannies, and from behind removable bricks, the ensemble of five women retrieve an assortment of archetypal objects.
They pull out boxes holding designer Frances Kenny’s symbolic outfits, and frequently change in and out of them. There are frilly, girly party frocks for a line dance of little Shirley Temples striking fake-cute poses. There are casual togs several sizes too small, which a dancer humorously, embarrassingly, squeezes her body into as if to deny adult womanhood. There’s a low-cut red cocktail dress for another kind of posing.
One of the sharpest sequences comments on the persistent social imperative to...
by James Holt
I don’t pretend to know anything about modern dance or contemporary theater. I rarely know the artists or what I’m getting myself into when I walk into the mainstage at On the Boards. But, honestly, that’s kinda what I love about it—walking in as a blank slate, no expectations except to be confronted with something that I’ll probably need to grapple with until the next show.
That’s what happened last night with Pat Graney and Girl Gods. As often is the case at OtB, you walk-in and see a pre-performance stage set which is simple, clean, elegant and minimalist only to be taken through scene after scene of emotionally charged, and often physically chaotic, vignettes that alter that simple metaphorical elegance into the literal mess that has unfolded around it.
I’m not ready to discuss the “unsettling journey into the collective feminine unconscious” except to say that...
by Yonnas T Getahun
Tea in Damascus
At certain times of the day
The men weep while the women laugh.
A chargin of porcelain cover the streets
Where then fathers shuddering
Send sons to sew cups of medicine.
And daughters and aunts and mothers
Shrine the beginning and end of history.
by Betsey Brock
Come rage with us, Saturday afternoon of Pat Graney.
This event is meant to create a space for members of the community and audience to more deeply engage with female rage through writing exercises led by Pat Graney with the support of the Girl Gods performers, drawing on prompts used within the artistic processes and development of Girl Gods.
Featuring Shelby Handler of Youth Speaks and other Seattle artists dealing with the issue of female rage.
Details: SAT, OCT 3 at 3:00 PM
FREE | OTB MAINSTAGE LOBBY
More details on event page
BUY TICKETS FOR GIRL GODS | OCT 1 - 4, 2015
The Seattle Star's Omar Willey reviews La Mélancolie des dragons:
According to some developmental psychologists, children of a certain age do not distinguish between internal fantasy and external reality. Adults find this quaint. As adults, it is their duty to distinguish such things. This is fantasy. This is reality. You’re being unrealistic. It’s only a dream. When are you going to grow up and see?
This is why adults are insufferable. They think they are so knowledgeable, so wise, so certain. But this certainty is bunk. Every single moment of their lives tells them so. Adults can hardly predict what they themselves are going to do in any given human situation, yet claim they can be “realistic” about human psychology. They spend a third of their lives sleeping and no one has the faintest idea why. All the advances of science and technology about which...
Thomas May reviews La Mélancolie des dragons at Memeteria:
What a delightful way to launch the new season: over the weekend, On the Boards presented La mélancolie des dragons, a visual-theatrical tone poem by the Paris-based theater artist Philippe Quesne featuring his Vivarium Studio.
I’d only read about Quesnes before, having missed his previous appearance at On the Boards over four years ago in L’Effet de Serge. Once you’ve experienced his work live, en personne, it’s even more obvious that, like music, it really can’t be captured by the proxy of words.
The mise en scène ...