Short and Sweet: Scorpius Dance Theatre Presents David and Lisa

Scorpius Dance Theatre definitely knows how to create an atmosphere. Walking into the Phoenix Little Theater on May 22nd, large clocks hung from the ceiling over beds and stairways while ticking sounds filled your ears. It felt like home, but uncomfortable, setting the audience up for David and Lisa: an unusual love story.

Glancing through the program you come across “Doctor’s Notes” informing us of why this love story is unusual. The main characters suffer from mental disorders such as paranoid personality and dissociate identity disorder. Lisa Starry also makes a brief announcement before the show stating this hour and fifteen minute performance was inspired by the 1962 movie David and Lisa. She gives no hints as to what the movie is about (rightfully preventing spoilers), but from further internet research love blossoms between two students in a boarding school that is specialized for teens with mental disorders. Other than Lisa’s brief announcement, the front to back analysis of the program, and my own personal research of the film, the actual performance has a tough time alluding to the fact they are mentally disabled and not just troubled or moody teens, but that’s not the main concern here. Throughout the show it is clear, despite their problems (whatever they may be), David and Lisa find each other, fall in love, and help each other grow.

There is not a whole lot of non-pedestrian movement in the entirety of this show. The choreography is generic and unoriginal, but that is part of the reason why the plot was so very clear. The overly literal movement makes it impossible for the audience to second guess the meaning of the overall story, but it also undermines the capabilities of this professional dance company. Each character had about three signature moves that never really evolved into sequences that matched the complexity of their characters. There would be moments that hinted, such as the well structured “School Trip” scene that allowed all the character’s personalities to blossom while being visually stimulating, but just as the choreography started to add intensity and depth, Starry would fall back into her comfort of miming movement.

Two performers in particular helped contribute to the clarity of the show by demonstrating their ability to capture the quality and intention of their characters. Lisa (Tricia Vander Woude) exuded child-like behavior. Her carefree quality gave her presence a magical feel that infested the theater. When her dancing exceeded her gestures, she was controlled and graceful adding an elegance to the show. The Mother (Nicole Olson) was a intense character quite the opposite of Lisa. She was poised, but creepy. It was easy to understand how a mother this cold could produce a son such as David that distrusts others and fears being touched. Olson’s most beautiful moment came in her solo during the “Mother’s Goodbye” scene, showing the small amount of sympathy and concern her character possesses. Her movement is no longer precise, and her porcelain face breaks. It is a beautiful and refreshing personality shift to witness.

Unfortunately, David (James Marinaro) was not as captivating as Olson or Vander Woude. He was certainly committed to his character, but it was over the top. There were moments he would grab his stomach and contract his shoulders in angst or contort his face so much I could not tell which emotion he was going for.

Overall, the show was pleasant and entertaining, but it was lacking that umph that makes it phenomenal. There were moments I thought between the flawless production of music by Kristofer Hill and Ryan Breen, the brilliant lighting design of Mike Eddy and Stuart Bailey, and the commitment of the dancers (including those of the entire production), it was going to reach that level, but it was always cut short, leaving me satisfied when I left the theater, but not inspired.

Cerrin, Phoenix, Server/Dancer