The narrative written by Hellé was not a nuance or fully fleshed out story the way a good play is, with subtext, multiple layers, and driving plot. Before deciding what to do with the narrative itself, I sat down with Simon Morrison and listened to the score over and over. As he described the piece, articulating each of the quotes within the score, I found it had the attention span of a child, extremely focused for short periods of time and able to switch play things quickly. This pastiche, patchwork aspect of the score became a more inspiring starting place for me than the narrative, I wanted to go to the dancers and designers with a question. What would a play space be? Who would be there? What would happen when they were there?
What makes it contemporary? The students themselves. Their bodies move in ways unseen, unknowable in 1920s, from the change in attire, the women’s movement, the evolution of dance performance and training, these students presence infuses the work within the time it lives. I looked to the toys that are common cultural artifacts, and images/ideas/movements that have become part of my students' cultural language. I set the cast into clusters of characters: we have the dolls, the lizards/gorillas, the police, the toys. These separations have basis in the Hellé narrative, but then move to incorporate broader constructs of similar frames. The police draw movement inspiration from sources as varied as Monty Python's Ministry of Silly Walks, Laurel and Hardy's The Passenger, Charlie Chaplin's Table Ballet, Toy Soldiers, Conductors etc. Because these movement ideas are part of a larger cultural knowledge the work becomes contemporary in its drawing from a pool of influences that span decades. Similar to how Debussy in the score arranges his play things, the quotes from himself and other composers because the content of his play.
The choreography is also greatly influenced by the costume and set design. We agreed early on that we were interested in working with the archetypes of toys, play and wanted to have the ability to allow the toys to be the costumes and vice versa. Drawing inspiration from Oscar Schlemmer's Triadic Ballet from 1927, where balls, rings, bells, were used to transform the body, images from children's books both old and contemporary ( from the Helle to Ezra Jack Keat's Snowy Day), and children toys (primary colors of blocks, tubes, rings), Anita designed creations that we could remove and rebuild in multiple ways. Once we had the costume/toy pieces we began the choreographic process again, adjusting, developing changing to take full advantage of our newest possibilities. The set is also greatly influenced by the need to house the orchestra and to create a single vision for an eclectic evening. I will leave the rest to surprise... What is gained is the coming together of Anita, Roberto, the dancers, the orchestra, and creating something new. What is lost? ... hard to know....the past, but with dance it almost always is!