The acrobatic dance troupe Flyaway Productions—who produced this summer’s inspiring GIRLFLY—have a novel way of supporting reproductive rights in a post-Roe America with their latest show. Ode to Jane (world premiere through October 12 outside the Tenderloin Museum at the Cadillac Hotel, SF) is not only free to the public, it’s several stories above them. The show finds troupes members air-dancing hundreds of feet above Eddy Street in a number of death-defying maneuvers as comments from pro-choice activists play over loud speakers.
The title comes from both the show’s use of Beethoven’s colloquially-named “Ode to Joy” (Symphony No. 9) and the “Jane Roe” alias used by Norma McCorvey in the landmark Supreme Court case that was overruled in 2022. There are a few nods to the history of abortion in the show, some subtly woven into the dancing, some explicitly mentioned in the audio.
Of the former, much of the first movement features at least two of the dancers not partaking in the acrobatics because they are seated in rocking chairs crocheting with very large needles (infamously used for abortion when medical access was denied). Of the latter, the audio includes testimonies of the aforementioned activists and historical tidbits like the mention of “The Jane Number” (643-3844) that would clandestinely assist, via telephone, those seeking abortions.
That all of this history and choreography is fit into a single 35-minute show is impressive enough. Yet, the choreographed part could have benefited from even more touches like the needles. Said choreo—by Flyaway AD Jo Kreiter and her dancers—is as impressive as it is gravity-defying, but there are many times when there exists a large disconnect between the movements being portrayed and the activism blasting from the speakers. The performers twirl about from harnesses and dance up and down the Cadillac’s fire escapes, but there are quite a few times when one has to wonder “What does this particular movement have to do with reproductive rights and abortion access?”
One is tempted to think that perhaps the audio was the greater priority and the high-flying dances are to keep the audience’s attention while the audio plays. (Indeed, in addition to us “official” audience members seated across the street, a great many rubber-neckers stopped to see what was going on—including a fire engine with its occupants hanging out the windows.) But that’s only speculation in lieu of any concrete explanation. The musical-backed testimonial audio is powerful and the rooftop performances are eye-catching, but there needed to be a bit more obvious connection between the two over the course of the show.
As it was an outdoor production, my being one-of-the-few-masked attendees was less concerning that it usually is. Still, those curious will be happy to know that my Aranet4’s final readings were low 533ppm on this record-breaking warm evening in the beautiful Tenderloin. (I’ve never once felt in danger there, but for those curious, community ambassadors are present at all times during the show.)
Ode to Jane is by no means bad, just imbalanced. It’s a work of auditory art combined with impressive physical work, but the two don’t perfectly mesh and one can only speculate how they would. Nevertheless, if you’re walking through the Tenderloin one evening and happen to see dancers flying above you for womens’ rights, it’s worth taking a look. Hopefully, the power of the words lingers as long afterward as the sight of colorful dancers in the sky.
ODE TO JANE’s world premiere runs through October 12 outside the Tenderloin Museum, SF. More info here.
