“Awright, awright,” Jamey Hampton shouted into his microphone, sprinting onto the stage in his best Joel Grey/carnival-barker impersonation. “Here we go! Welcome to The Spin!”
I’m going to go way out on a limb here and suggest this isn’t the sort of opening you’d expect from, say, a Martha Graham dance concert. Then again, this is BodyVox, not Martha Graham, and in the world of BodyVox, where the view of American cultural history skews more through Mark Twain and James Thurber and Bee Bop a Lula and the vaudeville stage than through the Valley of Earnest Transcendental Gestures, the only surprise about a dance concert filtered through the TV game show Wheel of Fortune is that it’s taken the troupe 18 years to come up with it. After all, BodyVox operates under a couple of core assumptions that color its aesthetic approach: “entertainment” isn’t a dirty word, and humor is important stuff.
So, this is how The Spin landed on its opening night Thursday. The company’s nine dancers rehearsed 24 pieces – about 150 minutes of dance in all – from the repertory, and each title was entered in a slot on the giant spinning wheel, which multitasking stage hand Clark Young, sporting a bushy Portlandia beard and a shoulderless dress and answering to the name Manna White, rolled onstage between pieces. Hampton then cajoled someone in the audience to come on up and give ’er a spin. Then, depending on where it landed, the performers rushed to change into the proper costumes while Hampton, sometimes joined by his wife and co-company founder Ashley Roland, filled in the time with what the nightclub crowd refers to as “patter.” Sometimes it was a little story about how that piece came to be created. Sometimes it was a little bio about one or another of the dancers. Sometimes it was just … patter.