There is no doubt in my mind that Robert Guitron, the artistic director of Polaris Dance Theater, is as passionate about written language as he is about dance.
Earlier this month (November 7-16) at Polaris’s home studio on SW Taylor St., Guitron debuted his new production Word, an evening of dance to spoken word, comprised of 15 dances including choreography by company dancers Kieraqmil Brinkley, Jocelyn Edelstein, Briley Neugebauer, M’liss Stephenson all performed to various works of different authors, poets and playwrights. All the readings were pre recorded with music mixed in, except for one.
In between pieces in the second half, company apprentice Valerie Grabill came to the edge of the stage and read to us from her ballet corrections notebook about her memory of a four-hour ballet class she had taken with Summer Lee Radigan, teacher and artistic director of the San Francisco Conservatory of Dance. I don’t remember exactly what the notes were, but I do remember that her feelings were raw and that hearing about her experience was moving and inspirational. The audience stayed right with her, laughing and loving every moment of it.
Yes, this was a massive undertaking with a distinctly grassroots feeling. Not only was Guitron the main choreographer and the host of the show, but during the performance he ran the sound and moved scenery onstage as well. For the performance the Polaris studio was converted into a black box theater seating roughly 100. Because of the number of dances and performers on stage (15 most of the time) this density, along with multiple large sheets of opaque plastic dissecting the space and the feeling of sameness throughout the show, made it difficult for me to differentiate between the pieces, and the ones that stood out were the pieces with fewer dancers in them. It was the space around them that made it possible for me to see them. This is not to say that I didn’t enjoy the dancing of the larger company: This is a very capable group of highly skilled contemporary dancers, after all.