Review: Patchagonia

A shirtless man is hunched over, his hands resting on his knees. He looks as though he has been overworked, the position of his body even giving him a beast-like appearance. The four characters in les ballets C de la B’s Patchagonia, choreographed by Lisi Estarás, all have a certain animalistic quality about them, as if they were mythical creatures taking human forms, stranded in the desert. The floor is composed of individual pieces that fit together like a puzzle, giving it the look of a dried up earth.

It is appropriate to speak of characters here. Patchagonia is very theatrical and we can easily ascribe labels to the performers: the talker, the singer, the imitator, the doer… It’s only one of the many qualities that this work shares with the last show that les ballets C de la B performed in Montreal, the excellent IMPORT EXPORT, even though that one is by a different choreographer, Koen Augustijnen. This is probably because both capitalize on the qualities of the performers of the company. Early in Patchagonia, Nicolas Vladyslav performs an impressive floor work section that shows off that he is well-versed in breaking. Sometimes the show even veers into gymnastics and acrobatics, just like it did in IMPORT EXPORT.

Ross McCormack also gives an intense performance as a man who is often inclined to excess. He first attempts to mount a wooden horse that is tipped over on its side. He exhibits an excess of excitement at the prospect, making his performance most humorous. He also shifts between acting like a bird and demonstrating an excess of masculinity, creating a tension that ironically sets up the letting go found in his bird-like form as more natural than its masculine counterpart. Sandra Ortega Bejarano laughs with him; he laughs at her. His imitation of her is so over the top that he loses control over it. He takes her earnestness and transforms it into parody.

Later, he returns to his excessive display of masculinity, but this time in an even more paternalistic and patronizing way (by showing off his muscles, for example). As this attempted demonstration of control persists, its surface begins to fall apart to reveal something hiding underneath: insecurity, fragility. So it is not surprising to then witness him breaking down.

A fear of the other lies beneath Patchagonia. The characters’ interaction is rarely warm, friendly, or even cooperative. All the male performers (the other is Sam Louwyck) give stellar performances, both as dancers and actors. When the show was clearly winding down, I thought “Already?” I consider that a good sign. Patchagonia is definitely entertaining, though it might lack a bit of emotional punch.

Patchagonia continues until Saturday, April 18, at the Cinquième Salle of Place des Arts. Tickets are 20$, 15$ for those under 31 years old. For more information, visit the Place des Arts website or call 514.842.2112.

PREVIEW Two graduating UQAM dance students are presenting their work at Agora de la danse until Saturday, April 18. The program’s offerings over the last few years have been particularly great and at 10$ for two pieces, it’s hard to go wrong. Next week, Tangente offers another double bill, this one by Lali Krotoszynsky from São Paulo and Line Nault. For more information on these shows, visit (respectively) www.agoradanse.com and/or www.tangente.qc.ca.