Live Shots: Hoops, wands, fans flew fabulously at ‘The Flow Show’

The Flow Show at Dance Mission Theater ran through last weekend, and celebrated myriad forms of movement with props. Hoops, balls, clubs, buugeng staffs, and fans rolled, caressed, and hugged the body. Rope darts, levi-wands, and poi floated and spun into optical illusions.

Emceed by director and producer Amy Wieliczka, the two-act show featured playful, dramatic, and sexy scenes. Abi Lindsey and Brian Thompson opened the evening with “Unfinished Business”—a rollicking skit with mesmerizing hoop-work. Tumbleweed’s rollerskating rope trick piece “In the Middle” was a study in motion—all  gliding skates, swirling ropes, and twitching mustache.

Medoozea’s “Manipulate Props Not People” employed a clever puppetry motif using the double staff. Crowd favorites Stellan and Lav’s “Take Me Home” rope dart dance was full joy: At the end, the performers couldn’t contain their smiles, and the audience responded thunderously.

In contrast to the scripted and choreographed acts, the flow session just before intermission was improv. DJ Brian Thompson played three short music selections for each artist switching the genre, tempo, feel after about 30 seconds of each song. Chachi with clubs, Trisha with contact staff, and Avery with levi-wand impressed with their talents.

Wieliczka explained the term flow comes from the psychology concept of the flow state. The scripted acts were amazing, but the improv acts highlight on the spot reaction to music. A special shout out to Avery and his hypnotic wand-work, who volunteered for the flow session when someone else was absent.

Act 2 highlights included Arthur Kao’s poetic musings in “Mirror Flower, Water Moon” with buugeng which concluded with a delighted audience member receiving the gift of a moon orb. Wyatt Davis’s “5 Clubs” combined physical comedy, clubs, and mime. His incredibly expressive face amused and entertained.

Flow arts have long been part of circus acts, dance and theater performances (such as the Chinese water sleeve dance). To build on these traditions, The Flow show was created in 2009 to highlight the art form. The flow arts were the centerpiece of the show, but the audience played a critical role, too.

Far from being passive spectators, the audience was integral—overtly, as with Wyatt Davis’ elicitation of clapping, oohs, and ahs, but also during the entire show with cheers for dropped props, respect for difficult moves, encouragement at all times. An engaged and supportive feel led to the energy exchange between the stage and the seats. —words by Patty Riek, photos by Jon Bauer

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