HQ REVIEW: “Styx and Stones” by Elinor Harrison in collaboration with Jorrell Lawyer-Jefferson
Styx and Stones, choreographed by Elinor Harrison in collaboration with Jorrell Lawyer-Jefferson, seeks to re-examine the concept of myth and look at it through a new lens. Why, if at all, do we choose to look back and revisit past stories? And not just these stories, but how they embed themselves in our lives and the ways we communicate our present existence. In this work, the myth of Eurydice and Orpheus is picked apart, unraveled, and examined through the framework of Harrison’s creative process. A variety of performance modes are employed and juxtaposed against each other. From physical theatre, to dramatic dialogue, to contemporary dance and the multitude of connotations that carries. These various mediums are constructively utilized to allow for a wide landscape of meanings to unearth themselves.
Near the beginning of the work, Harrison and Lawyer-Jefferson re-enact the moment they first met to talk about this piece. They sit across from each other at a table and discuss how long the piece will be and the fact that there will be “lots of apples.” As they talk, a pedestrian like physicality begins to coincide with their conversation. A toe is placed on top of the table, a body slides underneath, Lawyer-Jefferson bites into an apple as a comical interjection. The movement is not a literal representation of what is being said, but captures the contextual energy of what is being communicated. Moments of dialogue like this are scattered throughout the piece and range from being conversational in tone to feeling overly theatrical and overwrought with drama. But the contrast of this range is particularly striking because of the intentionality behind each moment of dialogue and how it is conveyed.
The theatricality of these exchanges is then threaded into larger moments of physicality between Harrison and Lawyer-Jefferson. Their physical connection is one often marked with tension. They run steadily towards each other then come to a sudden halt. They examine each others’ composure and then slowly retreat. Harrison allows herself to be swung into the air by Lawyer-Jefferson, lands on top of his shoulders, then climbs herself down the scaffolding of his body. As she extends her body into a variety of positions that are supported by Lawyer-Jefferson, she maintains a sense of control to how and why she is being manipulated. This quality, evident within the choreography, serves to equalize their bodily autonomy on stage even as they enact different roles within their physical relationship.
As the composition of the work continues to unravel itself, a striking moment of self-referential dialogue occurs. “Maybe I shouldn't make this piece at all,” Harrison exclaims while sitting at a table across from Lawyer-Jefferson. “I’m not making it for them” she declares as she looks out towards the audience. “Then who are you making it for?” Lawyer-Jefferson demands. This weighted question is met by a gripping silence as their bodies ooze into the table between them.
The piece doesn't try to answer this question, but lets its rest amongst a field of physicalized quandaries. And the strength of this work lies in that very denial. There is a non-linear congruence to this work. Yet through this structure, a world is born where creative process, myth, theatrical dialogue, and dynamic physicalities can all relate in conjunction to one other.
There’s so much more that could be said about this work, and yet I don't know how else to say it: There was an apple. A retrospective. Rolling on the floor with long flexed toes. A jazz dance. A knife that cuts and a red dress that unfurls. Orpheus with the awkward foot. Orpheus and Eurydice looking back, but also looking forward. Enraptured by the fabric of their hands stuck in the dirt.