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  •  REVIEW: SAM KIM: SISTER TO A FIEND

      L-R: Amanda Kmett'Pendry, Joanna Kotze, Sam Kim in Sam Kim: Sister to a Fiend
      Photo by Paula Court
      L-R: Amanda Kmett'Pendry, Joanna Kotze, Sam Kim
    Mystery Triangle

    Sam Kim shows Sister to a Fiend at Gibney Dance 280 Broadway Studio C

    By QUINN BATSON
    Offoffoff.com


    Narrative, like popular music put over seemingly random videos on youtube/Facebook, can often be put with unrelated movement and make a surprisingly good fit. Whether this makes sense, or humor, or fills some human need for finding relationships, is an open question. Sam Kim's Sister to a Fiend certainly has nothing to do with the novel The English Patient, but...

    SAM KIM: SISTER TO A FIEND
    Choreography by: Sam Kim, Amanda Kmett'Pendry, Joanna Kotze.
    Dancers: Sam Kim, Amanda Kmett'Pendry, Joanna Kotze.
    Sound design by: Bryce Kretschmann.
    Lighting design by: Joe Levasseur.
     SCHEDULE
    Gibney Dance Agnes Varis Performing Arts Center
    March 4-7, 2015

      
    Before we take that path, Fiend opens in silence and stasis on the triangled circle of Kim, Amanda Kmett'Pendry and Joanna Kotze. As if activated like an automaton toy, the three break suddenly into a repeatloop phrase of armswing, swing, swing, swing-step, clap, arms up out down and handroll to the floor, up to pray, begin again. It is a crisp and curious phrase, easy to watch, and continues unabated for many rounds, until Kim breaks out of the form and starts some fugue. Nice flits of leg-on-leg contact join the triangle before Kotze steps through.

    It is the tiny moments of touch that make Sister to a Fiend interesting, in part because there are so few. The touch is unusual, often awkward. As is trying to find meaning or narrative in Fiend and landing on "The English Patient" as backdrop/storyline.

      Sam Kim: Sister to a Fiend
      Photo by Paula Court
    Blowing wind, like the desert wind in Patient, is one of the few recognizable sounds onstage. Kotze fits the description of the wife in the book's main triangle, and Kmett'Pendry seems like the "English" burn patient by the end of the piece, scratching her ruined, itchy skin and wandering in a morphine haze through the memory of the others after their deaths. Kotze even does some bizarre eye-pulling/popping that makes her look like a cartoon skeleton, while Kim stays still as a corpse.

    Outside the false narrative, a dynamic of hiding and showing seems prominent; obfuscation-by-hair and more-unconcerned-than-sexual crotch-flashing are equally common. Some of the movement is clearly Kim — serious stompwalkng with open-V "ta-dah" arms is familiar — but all three get choreography credit.

    Whether it encourages free association or begs for narrative, Sister to a Fiend leaves enough open space for either.

    MARCH 19, 2015
    OFFOFFOFF.COM • THE GUIDE TO ALTERNATIVE NEW YORK



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