KT Niehoff, Kelly Sullivan, Bianca Cabrera, Ricki Mason
“At the moment, I can’t imagine this in another space. It’s such an unique room, the architecture is so placed in time, and you feel like you are falling back in time. There is a feeling of permission in that room,” she said.
As for the vampire obsession and how it colored Glimmer, she noted that shows like True Blood on HBO have created “an American cultural obsession with vampires and I’m just as susceptible to that as anyone. Vampires have this invincibility factor and they are larger than life. There’s also that sense of wisdom and darkness that is really intriguing to me. That’s what I’ve been tapping into. I set out to make something that was not safe. That type of creation makes me excited. I have a lot of anticipation, trepidation, and adrenaline in this piece.”
Early portions of Glimmer were staged as interactive performances at the Seattle Art Museum (February-April 2010) as well as a special custom-made solos.
Ricki Mason, Michael Rioux, Bianca Cabrera, Aaron Swartzman
In it, the dancers and the watchers move throughout the space, interacting in a way that Niehoff dubs a “free-range audience experience.”
“We go into this dark world, we ask people to look into their bodies and their minds, and bring out certain things to light,” she said. “Then we ask ‘now what?’ What is the light?”
For Niehoff, one of the joys in creating as well as performing in Glimmer is a chance to sing with the show’s live band, Ivory in Ice World. “I’m a rabid Ivory in Ice World fan. Ivory is an incredible vocalist who has been so supportive of dance,” she said.
Michael Rioux, Ricki Mason, Bianca Cabrera,
“Since 2006, I have taken my work off the proscenium and placed it in non-traditional venues,” said Niehoff. “The Central Heating Lab is a really exciting idea. It’s can be rather rare to have that kind of partnership [with a larger company].”