What's fun about Suchu Dance's newest opus, Masters of Semblance, is that it isn't exactly new, but culled from several of artistic director Jennifer Wood's greatest hits. As Houston's most prolific choreographer, Wood had no shortage of material to work with.
To add in more fun, she's changed up the costumes and music.
Will her fans recognize her re-configured choreography? Stay tuned, there will be a quiz and a prize.
For veteran Suchu dancers like Lindsey Sarah, the experience proved a walk down memory lane, while for newbie Shanon Adams, it was top to bottom all new moves for her.
For Wood, the recycling process lent a touch of freedom. Instead of generating movement, she got to play dance DJ, mix-mastering some of the works she wanted to see again. For all those Suchu fans who have been begging Wood to see this or that piece again, Masters of Semblance, should have a cool deja vu feel. For those new to Wood's twist on contemporary dance, it will be great way to see the range and breadth of one of Houston's most beloved dance artists.
Suchu shows excerpts of Masters of Semblance at the Spacetaker "SOLD OUT" gala Saturday at Spring Street Studios and the show runs March 24-April 3 at Barnevelder Movement Arts Complex. Join us for sneak peek of Suchu "soup" below.
"Art and About" with CultureBro Joel Luks and CultureSis Nancy Wozny, explores how Suchu Dance recycles past works into a new dance:
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
