Koryn on the No Pro Podcast
Wicks’ work here seems to be constructed around this principle: that the space between performer and audience is a medium of connection. And while there’s nothing in the way of narrative agency placed into the hands of her audience, neither are we confined to seats or limited to our standing room only starting points.
Indeed, at times individuals in the audience become props and/or partners of the dancers. Some going so far as the mirroring even athletic portions of the choreography. There isn’t narrative thrust in these moments so much as there is thematic inclusion: we too seek to connect through performance. To something all too often hidden away by social graces and the demands of the marketplace.-Noah Nelson No Proscenium
With a strong concept at the heart of the piece combined with striking visual tableaus, the dancers frequently used a combination of three contact points on the floor, two hands one foot, two feet and an elbow… The moody, group work breathed an apocalyptic vibe and featured Wicks in a key role surrounded by a cast of local dancers. Also on stage, seated behind his computer, musician-composer Jonah Rosenberg added to the piece’s mysterious vibe by creating the atmospheric soundtrack with pre-recorded track and his electric bass.