By Bryan Stubbles
Snapshot at the Great Salt Lake Fringe Festival in Salt Lake City, Utah shows us the possibilities of dance in a narrative context. The show is penned by Sam Allen, Abbie StVaughan, and Carlie Young; directed by Sam Allen; and produced by Sasquatch Theatre Company under the artistic direction of Allen Miller and Samantha Miller. The show is choreographed by StVaughan as well.
The work captures the journey of Elisha (Megan Sparrer) from her abusive childhood through her tumultuous young adulthood as she learns to finally love herself—as well as love others. While the story may sound incredibly straightforward or simple, the complex execution provides a glorious uncovering of the protagonist’s character.
A lot is happening in this play. In the beginning, the actors move about the stage in patterns. As the show continues, it becomes apparent that each character has their own visible signature, and that motifs repeat and express themselves throughout the play. One motif in particular is of Elisha and her spirit (Abbie StVaughan) sitting back to back on the stage and engaging in what could be described as a tug-of-war. This motif is repeated in a more extreme version by her abusive father (Michael Katz) and caring mother (Louise Dapper).
Choreographer StVaughan and stage manager Maya Rung make extensive and creative use of what little space is available on this stage. As stated above, the dance elements flow in motifs, yet fulfill the narrative portions of the story. An audience member watching this type of play for the first time would have no trouble following the action through dance. Despite the fluent nature of the show, there is some ambiguity, especially from Elisha’s spirit. Ambiguity is welcome in 2019 when theatre seems to spoon-feed American audiences every. Single. Detail.
Props and people move in and out of the space quickly. There’s a table with wheels where Elisha confronts her alcoholic, abusive father. There’s the parents’ bed, creatively made from what could pass for an old wooden trunk.
Photo credit: Aidan Croft, Graphic Design: Ellie Peek
Post-modernism is the name of the game in Snapshot. The story is told through dance, dialogue, text messaging, and even answering machines, just to name a few. One of the play’s strongest features is how it encompasses many theatrical elements and highlights what makes theatre so much more alive than a Netflix binge.
Often times a character addresses the audience in a monologue. These monologues work and could be performed as standalones. Elisha and her friend (Emily Kitterer) do a wonderful job interpreting these monologues.
Kitterer is suitably sympathetic as the friend. Katz is effective as the father, and Dapper is nothing short of incredible as a woman trying to appease her volatile jerk-face husband and protect her daughter, which she cannot always do. The emotional range of the role and the dancing and movement involved reveal Dapper to be a theatrical powerhouse. Dapper, a native of Brazil, must also be commended for performing in a language that’s not her native tongue, as she is absolutely incredible. Furthermore, StVaughan breathed and danced life to the role of Elisha’s spirit—again, an ambiguous role that could use humanization, and StVaughan provided that necessary humanity. She is thoroughly connected to her movements.
As an added bonus, renowned theatre director, choreographer, intimacy director, dancer, and teacher Nicole Perry was my guest for this show and shared her thoughts. Ms. Perry was struck by how a repeated motif performed by two characters is not only simultaneous but also connected to another body—but then one side breaks off. I think dance people will understand that. The whole group has a bright future ahead.
Eventually Elisha finds a romantic interest (Maggie Minshew) who falls in love with her, and who also delivers the most powerful line of the play: “When you’re ready, I’ll let you see you the way I do.” (Warning: I may have gotten a word or two wrong, but the point stands.) For a narrative dance piece about emotion, characterization and acceptance, that line just about sums it up and Minshew delivers.
Snapshot isn’t family-friendly. There’s some profanity and self-harm probably equivalent to an R rating.
Sasquatch Theatre Company Presents Snapshot, by Sam Allen, Abbie StVaughan & Carlie Young at Great Salt Lake Fringe Festival.
124 S 400 W Salt Lake City, UT 84101
August 3-August 11, 2019, showtimes vary (check festival site for details)
Tickets: $10 + $5 festival entrance stamp.
Contact: sasquatchtheatreco@gmail.com
Sasquatch Theatre Company Website
Sasquatch Theatre Company Facebook Page
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