Xu Zhi, one of the male dancers sporting a grey hoodie, shows us his physical prowess: flying through the air with lightening quick speed that blends the fluidity and dynamism of wushu with balletic precision. His stocky body is full of explosive energy and indicative of an unbounded tension. Other dancers are equally expressive; as lights dim, we see another dancer with hands outstretched like Jesus on a cross. The struggles and complex conscience of the dancers becomes apparent with each new scene. This is Wen Wei Wang’s inner life manifested onstage, in the flesh. Audiences who have seen Wang’s other works like Tao (2004), Unbound (2006), and Cock-Pit (2009), can trace the continuity in theme and content in his body of dance creations. Wang’s latest creation, In Transition, continues this ongoing exploration into cultural identity, body memory, and human exchange. All of the BMDC performers are unique, but Chaoke caught my attention as someone with honed interpretive abilities and superb technique; it’s no wonder he is also the rehearsal assistant for the company.
Lighting Designer James Proudfoot should be credited with his contributions to both Journey to the East and In Transition. The muted and dusty silhouettes and shadows created by the moody lighting enhances the overall concept. The evening forms a kind of kinetic residue in my body and mind—feeling the moves, revelling in each of the images and sounds, and being part of this transitory universe created by Gao and Wang is compelling. Most of Wang’s work, at least in Vancouver, has been seen on smaller stages which have enhanced the intimacy of his themes and personal narratives. Placing Under the Skin on such a large stage like the Vancouver Playhouse has consequences. At once, we feel the enormous distance between “here and there,” a quality that supports Wang’s intentions to capture his ongoing negotiation between China and Canada. But the intimacy and emotion of the work becomes diffused in the Vancouver Playhouse.
But with that said, we must consider the major cuts to government funded, international touring programs such as ProMart and Trade Routes Program that have taken place in recent years. Under these circumstances, such an epic and international collaboration like Under the Skin can’t be taken lightly. The sheer effort and integrity required to bring such a full-length show to fruition is enough to overshadow any minor blemishes—fortunately, there weren’t many at all.
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