Radiating the nervous energy of the expectant bride, Riker appears in a full-length wedding gown to thank the audience for coming—to the show or to the wedding? —and to reassure us that she’s so glad we’re all here. Riker later makes the rounds of the seating area, sitting on people’s laps, asking somebody to feel her arm muscle and climbing over chairs as she explains that she is working on becoming a better listener, all the while keeping up a constant stream of chatter that indicates otherwise.

Riker is joined by six dancers—four women and two men—who appear in partial states of dress, slowly taking their time to consider and approach putting on their own wedding finery. As the final adjustments are made, the dancers begin to pair off, standing with their arms laced behind each other’s backs. In a recurring theme, the pairs begin by extending their legs outward and then folding them back in to launch into a swift backward jog to carry them across the space.

Once across, the pairs sweep their legs side to side, stepping across their partner, before one partner is carried on the other’s hip to land on the opposite side, always interlaced and ready to move again. Much of the movement has a dreamy, drifting quality that makes the dancers appear as if they are floating across the space, especially in moments where they hold their arms as if waltzing with an invisible partner.

The steps seem natural and comfortable to execute, and the repetition of much of the movement encourages a meditative state. Only later in the piece is there any change in dynamic as the brides reject putting on the veils and get increasingly panicked about being in their wedding clothes.

Near the end of the piece the group is clustered together, their arms folded across their chests as they wade through a sea of tulle. Their faces show resignation to the commitment of marriage, yet one by one they try to escape before the group catches them and brings them back. One of the men almost succeeds by casually slipping out the back of the group while everybody else is distracted trying to reclaim another escapee. His second attempt is more desperate as he resorts to hiding behind some of the balls of tulle scattered around the floor, prompting a hearty laugh from the audience.

Although the work could certainly be tightened by at least twenty minutes, the dancers remain genuinely committed throughout and exhibit an ease with each other that truly makes one feel as if they are watching real relationships develop.

The dancers have a refreshingly natural sense of playfulness, which elevates the simple movement and brings levity and humor to the work.
EYE ON THE ARTS, NY -- Jessica Moore