Somewhere over Washington, D.C. this week Dylan Thomas is smiling. The epic poet like many writers, made a living writing in different genres as the life of a poet is all too often of the starving artist variety. Like the film auteur who makes three films to satisfy commerce so he can make one to please his muse, Thomas toiled as a working writer. But even in his pulp dramas the lyricism is still present.
Robert Bettmann took Thomas’ film script “The Doctor and the Devils” churned it with his creative sensibility until the cream rose to the top. Skimming off the lyricism he created a new work, “All Good Men” that premiered Thursday night at D.C.’s Capital Fringe Festival with an additional performance tonight. It is truly a jewel and a tribute to the commonalities between poetry, literature and dance. Using a dramatic presentation of the script as his score Bettmann creates a symphony of movement literally bringing form and texture to the content.
Emily Horton plays a doctor with a moral dilemma; the purchase of cadavers for the teaching of anatomy seems to produce more bodies than natural circumstances should allow. As she struggles to maintain the demands of a career and reputation with the consequences of what is certainly murder the struggle is played out in exchanges with cohorts and family. The workaday movements belie the inner tension ultimately leading to the poignant stillness of contemplation as bodies literally pile up behind her.
As the doctor’s wife, William Smith is a whirlwind of expression. His solo dance is stunning and graceful and his character, the fulcrum of the relationships and tensions in the piece makes him the show’s anchor.
Sylvana Christopher Sandoz performs with such intensity that it is unsettling; but she leaves you wanting more. Her brutal dispatch of one of the victims is played out with such ferocity that it leaves you nearly as breathless as her victim.
Bettmann as the doctor’s assistant struggles with his affections for the local bar girl, his grief at her loss and the moral balancing act required by his need to sate his loss with justice while realizing that society will offer no satisfaction. Bettmann plays out the balancing act as a man literally stuck in place; his dilemma pulling him yet his plight is fixed.
This leads to Jenny, poignantly performed by Rachel Merga who provides the bittersweet emotional and human core of the drama. Her hopes and desires squashed by reality take shape as Merga gracefully suffers her destiny. The dance with fate followed by its aftermath is as striking in its simplicity as it is beautiful. Her performance left you desiring a further fleshing out of her story to understand how her journey brought her to this tragic place, but especially for more of this stunning performance and performer.
The only truly discordant note was the scheduling by the Capital Fringe Festival of a boisterous performance next door that diminished at times the audience’s ability to hear the score. But that distraction served as an indicator that this is a compelling piece as the audience leaned forward so as not to miss anything. It would be unfair to assume that festival organizers could match shows with harmonic tones since the festival is an amazing feat in itself but it did play a part in the overall milieu and the performers deserved better.
A new show especially by a new company is a living organism and will grow and develop and find its way. Bettmann has created a work of art that establishes his ability to mine gold out of our literary vaults and craft his discoveries into complex and beautiful pieces.
This production will be turned into a film over the next few months. It’s a work that serves as an example of artistic craftsmanship and one that should inspire writers and poets to think of their work in terms of dance. Bettmann shows us the essence of literature and it is that essence that makes great art. One hopes that this performance and these performers will give us abundant opportunities to enjoy their contribution to this world’s desperate need for art and beauty.
For more information about Bettmann Dances visit the Day Eight website.
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