Au Revoir Parapluie! A Review of James Thiérrée!
Genes! The range of genetic inheritance is just beginning to evolve, and it is fascinating. Why does a doctor’s son become a doctor, a pianist’s son become a musician, and a famous silent film star, perhaps the most famous physical comedian ever, have a grandson whose startling resemblance to him is uncanny especially his physicality on stage. In BAM’s return engagement of James Thierree, the gene factor from grandfather Charles Chaplin to grandson James is markedly evident even without the mustache and the waddling gait that were the trademark laugh makers several decades ago.
Thiérrée’s piece, making its debut at the Harvey Theater of the Brooklyn Academy of Music, was called “Au Revoir Parapluie” (Farewell Umbrella) and had as its centerpiece a tangle of ropes suspended from the ceiling to the floor held in place by giant fishhooks. It was used as a hiding place for the dancers, sort of a simulated wing space in which they could disappear within its folds and reappear on cue. The stage was set as a living room (of sorts), but it was the ropes that offered the support for the twisting, hanging, somersaulting dancers. With one foot, one wrist, or one leg neatly secured within the grip of the ropes, they did amazing things - acrobatic facility at its most glorious best.
At the beginning Thiérrée backward somersaulted out of this ganglion of ropes and presented himself to the audience; a slightly built, enormously agile man with dark curls and smile so engaging that he almost needed to do nothing more than smile at us. But he did. Performing with and choreographing for an eclectic group of five gifted performers, he created a family. Thierree, the devoted father; Satchie Noro, the longhaired pliant bodied mother: and the amazing elfin child, Kaori Ito, as flexible as a wet noodle together portrayed a family unit constantly interrupted by stumbling blocks from the outside world.
One such obstacle comes in the person of Magnus Jakobsson, a string bean fellow who seemed to be either Thierree’s accomplice or an insistent pain in the neck. He was full of pratfalls and magic, and was the set-mover and all-round motivator of the action as well. There were many images, symbolism galore, and to attempt to interpret logically all of Thiérrée’s antics would be an unproductive task. Better to just watch, be entertained, and not worry about deep meanings.
Internal logic ... "Au Revoir Parapluie" Photo by: Tristram Kenton
Especially be enchanted by the movement quality of Ito, who at one point climbed on her father’s back (Thiérrée’s) as weightless as a feather he could brush off with one gesture. At first he searched for her not knowing she was glued to his back. She had extensions to make you think of Sylvie Guillem, feet of Alessandra Ferri, and the acrobatic expertise of an amazing tight ropewalker. Maria Sendow wafted here and there singing (not really sure what) wearing an exquisite white gown as she closed the show.
It has been five years since Thiérrée’s last visit to New York, in “Junebug Symphony” presented at the New Victory Theatre. It was a piece that began in bliss but stretched out into silliness and became overburdened with tricks. Yet Thierree’s astonishing presence, new to New York audiences, was enough to enchant viewers.
With “Au Revoir Parapluie” Thiérrée delves further into relationships and tugs at the heartstrings of familial ties and their accompanying disappointments and fears. Families long to leave the hearth and branch out into their own paths, often threatening. But Thierree’s family overcome life’s crisis’ and reconnect in contentment. The performance of “Au Revoir Parapluie” was the closing program of the 25th Next Wave Festival occurring in the fall season and always offering enriching and unusual productions to tempt hundreds of viewers across the bridge to two beautiful theaters in Brooklyn.