Born as a pandemic twist in 2020, “Knockout” is finally a fully baked dance performance, premiering with a two-week run to close the spring edition of Steppenwolf’s Lookout series. This hour-long duet started as a brief idea joining two powerhouse artists who have long been staples of Chicago’s DIY dance scene. It’s ready for prime time.
“Knockout” is completely nostalgic for those of us who have reached middle age but aren’t quite ready for the “knock off my lawn” stage of life. As the audience enters, a single barstool center stage with a pitcher of water and pint glasses are the only things upon which to gaze in Steppenwolf’s intimate 1700 Theater, a black-box venue located across from the front bar. Tucked in the back, one door north of their Lincoln Park hub. A rectangle of white light is cast onto the back wall—like the impression of an old school slide projector as your algebra teacher begins to scribble a quadratic equation with a felt pen.
It’s a deceptively simple pro forma to look out for, which tends toward genre-defying, time-based works by established (and often under-appreciated) independent artists.
I wouldn’t exactly appreciate Erin Kilmurray and Kara Brody being in the zeitgeist. Brody’s primary presence has been with Lucky Plush Presents, which has been quiet for the past few years, but serves as presenter of “Knockout”. And Brody’s penchant for rough-and-tumble pas de deux This kind of one has been well established, perhaps most notably in a stunning 2019 Kheeki duet with Amanda Patient called “Frontier”.
Bizarrely or unintentionally, Kilmurray has cultivated a cult of personality since launching the wildly popular “Fly Honey Show” in 2010, a raunchy burlesque show and cabaret that flipped the script on the art of tease. . If “Frontier” was injected with a dash of Kilmurray, you’d get something like “Knockout”.
“Knockout” reads like a not-too-distant “Fly Honey” cousin, fueled by Kilmurry’s indefatigable interest in the indefatigable club life of what is, I hope, still an online, algorithm-driven social architecture. Is prosperous in the era of. Kilmurray and Brody take a decidedly offline approach, taking a non-sweaty journey of meeting a stranger (by chance or by choice) and feeling each other out – figuratively and literally. From.
The ABC drama “My So-Called Life” anchors its journey with references to Katrina Dion, Kilmurray and Brody’s direction. The deeply Gen-X show was unexpectedly real, intensely cool and educational for teens from the “whatever” generation who, until then, often didn’t see themselves authentically in mainstream culture. It was canceled after just 19 episodes – coincidentally (or not) coinciding with Disney acquiring ABC in 1996 – but left a lasting mark on ’90s kids just trying to figure it out. Was wondering where they fit. If, like me, you were one of them. Kid, “Knockout” hits differently. Trust me.
But no matter your age, it’s this spontaneous, thrillingly chaotic, deeply vulnerable kind of relationship building that I think we all kind of miss. It’s dirty. Mistakes happen. Feelings get hurt. Goes out of awkwardness. It’s all in “Knockout,” With some She-Ra vs. Wonder Woman action scenes, “Knockout,” you soon learn, is a double entender.
In fact, the piece is full of layers and complexity, smart composition and plain old good dancing – frustratingly good in its attention to detail. The same goes for sound designer Corey Smith, lighting designer Liz Gomez, and costumer Mary Williamson, whose symbiotic world-building shows what can happen when enough time, resources, and attention are poured into two of Chicago’s most captivating artists. goes.
Lauren Warneke is an independent critic.
Review: Lucky Plush Productions Presents “Knockout” (4 Stars)
When: Through February 2
Where: Steppenwolf 1700 Theatre, 1700 N. Halsted St.
Running Time: 65 minutes
Tickets: All performances are sold out; $30 stand-by tickets are sold at the box office starting one hour before each show; More information at www.steppenwolf.org