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AUDIENCE REVIEW: Hanna Q Dance Company in "Glimmer: an evocative hope for the future"

Company:
Hanna Q Dance Company

Performance Date:
February 20, 2025

Freeform Review:

The Hanna Q Dance Company showed the exceptional “Glimmer” at The 14th Street Y Theater on February 20th to a completely rapt audience. The show, with only six dancers: Giorgia Picano, Jack Randel, Quincy Southerland, Jordan Greenlee, Ellie Lehman and Jaylon Jazz McCraven. reflected on the many distinct aspects of choreographer Johanna LjungQvist-Brinson’s relationship with the natural world, love, and hope. Johanna LjungQvist-Brinson’s choreography was often joyful.

The first performance, a piece entitled “Wishes,” was buoyant and felt limitless. The dancer’s movements were precise yet loose. They looked like they were enjoying themselves. In the program provided, Johanna described “Wishes” as a representation of a desire so strong we “draw energy towards us.” The dancers’ big, open movements, their welcoming expressions undoubtedly felt like the audience itself was the object of desire and hope. As an opening performance, it was an invitation for us to join the dancers on their journey and open our minds and hearts for what was yet to come.

“Glimmer,” the second piece of the show contrasted with “Wishes.” While “Wishes’” costumes were organic and flowy, and the dancer’s expressions were earnestly happy, “Glimmer’s” costumes were silver and much more fitted. The performance was still light airy, but the choreography became slightly more reserved, the dancers’ faces more reflective. This demonstrates what Johanna described as “small moments” that might brighten your day. These moments, while not overwhelming or all encompassing, maintain their beauty and value because of their fleeting delicateness. “Glimmer” is a more intimate piece than “Wishes” taking time to revel in brief moments of beauty rather than an abundance of wonder and cheer.

The penultimate dance was “ Magnefique” a choreographic work in 3 parts. The first part was a close and affectionate duet between two dancers. Here, the tone of the choreography changed even more drastically. The two performers were dressed in feathers, flapping their arms like awkward birds. The background photo image by Max H Brinson was a forest, that looked both burned and in the depths of winter, was gray, desolate. Despite their awkwardness, the dancers greet each other with love, with closeness. They embrace each other. It was breathtaking and left me feeling as if I was intruding on a private moment. The choreography and movements were less interested in prettiness and more in deep and true love, which is often stumbling and shaky. It was truly evocative and demonstrated a mastery of craft from LjungQvist-Brinson. The choreographer proved she is not burdened by contemporary expectations of dance and instead is willing to carve her own path forward.

Part 2 was sweeping, full, and expansive. It began with a solo performance by Jaylon as a tree suffering amid a great wildfire. His movements are disjointed and angular. The sense of agony in the tree is palpable as the world burns around him. Despite the dystopian imagery, “Magnifique” pauses and reassesses the dread of the tree, and, chooses hope.

In part 3, the background image changes from a burning sun to a beautiful orchid pressing up out of the soil. Georgia’s solo was bright and powerful. Her face was solemn and focused as if she, the orchid, was attempting to heal the world. The hopeful joy of Johanna’s original choreography rises to the occasion while also reflecting her anxious desire and visions of a positive future.

The last piece of the evening, “I Love You” was set to a colorful background image by artist Alan Kaplan’s pastel, of his wife Wendy Stuart’s Lips. Here the whole company reemerges, and the full force of Hanna Q Dance Company is felt.

Author:
Flora Trost