Constanza Macras: On Dorky Park<font size=2> by Mark Boeker</font> Oct 7, 2006

by Tania Kupczak

This show was so hot there was a fire engine waiting outside immediately after leaving the serious. It was hot in that dorky vs. sexy way. The playfulness and inventiveness kept me enthralled throughout and even though, after a pitch-perfect first act, the wind left the sails a bit, there would be a change of scenario, like a rice-cake eating contest to Bon Jovi's "You Give Love A Bad Name" performed by the entire troupe, and I'd be focused right back in. Who knew dance could be so much fun? Yet it would discredit this group to write them off as just dancers, as they succeeded in all the theatrical realms. The films lacked any heft, but were amusing and allowed for some pretty dramatic set changes. I loved how Macras/Dorky Park continually changed the landscape or channel, mood or entire world, right before your eyes. It was the outright goofiness and almost anarchic level of activity that made the show so special...I didn't feel the need to try to figure things out or try to apply any deep meaning, I just let the grace and/or aggression of the movement and the pure enertainment value wash over me, like being gently pummeled by stuffed animals. Not to say there wasn't some commentary on humanity, self-awareness and truth embedded in the inspired, absurdist silliness. It was a rare example of having enough stimulation at all times to keep you involved vs. feeling distracted from the main action...everything felt worthy of getting your attention. Perhaps intentionally, the hip-hop dancer rarely kept my attention (not due to a lack of talent), but there were always fresher displays of movement and weirdness exploding around him. After witnessing Forced Enertainment and Christian Rizzo before them, Dorky Park is one more shining example of some horizon-expanding and exciting work coming out of Europe that I feel blessed to have seen.