Every critic chooses his or her own style of criticism. Some critics are arbitrators of good taste. Other critics choose to be an interpreter for the audience, explaining the artist's intent and offering context so that audiences will have the tools they need to fully appreciate the experience. This critic usually falls in the latter category, preferring to help navigate the murky waters of contemporary dance. This job is more challenging with some artists than others. Frequently, veteran choreographers will choose to wrap their aesthetic choices in polished presentations that can be appreciated on multiple levels. Some of those levels can be intellectual, visceral or just pure beauty. Then there are artists like Scott Wells.
Where to start with Wells? His dance company, Scott Wells & Dancers, have been trudging around on the Bay Area's avant-garde edge for almost 15 years, providing daredevil lifts and pyrotechnical dancing long after the trendy companies have come and gone. At this point, many dance companies would have given up. Despite the lack of arts funding for the last 15 years, Wells appears to be in it for the long haul.
Wells' show at CounterPulse last weekend was every bohemian's dream of the San Francisco arts scene. After arriving early, we discovered that it would be another 20 minutes before the doors would open, allowing us to experience one of the city's most colorful corners at 9th Street and Mission. After entering the performance space, we discovered that the performance had already begun, with dancers and audience members participating in a structured improvisation focusing on tactile exercises with blindfolds. Only in San Francisco would one expect to be groped by a blindfolded dancer who hadn't realized he had wandered in the audience. Clearly there was no fourth wall to hide behind.
The first piece, Half-Off (this is an improv!) had begun, eventually developing into a series of exercises described by the choreographer as "attempts to draw the audience into improvisational performance. To reveal the underpinnings. Many people love to see music improvised, as in jazz. How about with dance?"
All of Wells' dancers in this piece are exceptional performers, and it was a joy to see sophisticated improvisational dancers on stage, plying their craft. But the piece appeared to be either underdeveloped or under-rehearsed. As an intellectual practice, the piece seemed to work, but as a theatrical experience, it fell short. While it's admirable for Wells to take risks, even jazz musicians need to practice extensively before performing for audiences.
After the intermission, Wells presented two pieces with a new group of dancers who brought a different set of skills to the table. Goodbye, Goodbye, Goodbye was a playful, ironic quintet set to Nirvana. Now we saw Wells in his element, with lots of leaps, running, and body-slamming. The only problem was, after seeing the more authentic Half-Off, this material started to look dated. We've seen this style of contact improvisation for 20 years, what's new?
The last piece was a commission that is being re-worked for next year's 15th anniversary. Home was originally presented in 1991, and it's being re-developed by Wells. "This is the first step to recapture it, tear it apart, and make it ours now." It was lovely to see Jesselito Bie back on stage after a long absence; his camp sense of humor was appreciated. Kegan Marling was an undiscovered new treasure. As one audience member commented, "I could just eat him up." As a piece in the process of being re-worked, it was easy to see lots of potential. The women's lyrical sections appeared weak, while the men stole the show. Some powerful dancing was seen, but the unison sections dropped the ball. It's clear that Wells has lots of great material, but he seems unsure about what to do with the piece.
So where does this review stand between judging merit versus providing context? Probably somewhere in-between. Wells and company seem to be going through growing pains, somewhere on the cusp between the cutting-edge and a more sophisticated style of choreography. Wells will need to integrate the newer ideas with his old style of working, and the fusion has the potential to be spectacular. Until then, we will need to sit back and watch Wells develop while he figures things out.
Scott Wells & Dancers at CounterPULSE, 1310 Mission St., SF, July 21-23 at 8 p.m. Tickets $15, reservations: (415) 435-7552.