Review: A GOOD WOMAN By Nerissa Tunnessen and Samantha Xiao Cody at Cafritz Hall

In “A Good Woman,” a new work of dance theater premiering at this year’s Capital Fringe Festival, Nerissa Tunnessen and Samantha Xiao Cody construct a space of rich significance in which they reexamine a classic tale. 

It begins like this; on a flat hardwood floor, a structure of something is covered by thin white cloth. The house lights lower, and we can hear two sets of footsteps enter invisibly. 

Two voices begin to recite back and forth what seems to be an original long-form poem from the perspective of Penelope, wife of Odysseus, waiting im/patiently for him to return, or to die, whichever comes first. The poem continues to wind in conversation between the performers throughout the 20-minute piece.

In darkness, the voices' cool tones impart a sense of detachment, and the difference between the two is intriguing.

The lights open to reveal the same draped structure, and choreography begins. Tunnessen moves white cloths, long string, four-legged stools, and wood palettes into different shapes and formations. Cody wanders and meanders as she plays a violin, the sound sometimes abstract and occasionally melodic. The tune is beautiful and round and provides temporal structure to the plot, which is embodied in elegant contemporary-style movement by Tunnessen. 

The well-designed props and lighting transform the black box theater in the basement of the DCJCC to an island of two that the audience is permitted to observe but too far from to visit. The success of these production elements in combination with the use of dialogue contribute to my belief that this work classifies as dance theater.

There are many things I find impressive about this performance. The set movement is skillfully choreographed and well rehearsed, allowing for play within the unplannable irregularities of string and cloth. Small, unavoidable imperfections, like a wood palette tipping under the pull of the string or a dress strap falling from the shoulder, added to the meaning of the work.

The calm response of the performers to the loud slam of falling furniture seems exemplary of the expectation of women/femmes/those assigned female at birth to be perfect and maintain poise in the face of chaos. Perhaps like Penelope, outwardly stoic at the possibility of her husband’s demise and future of unhappiness, the performers simply adjust and move carefully about the clutter.

The most compelling parts of this piece are the moments of connection between the two performers. The clear depth of their relationship in contrast to their lack of connection with the audience makes the performers seem far away, like in a world of their own. 

Specifically memorable is the physical contact shared between Cody and Tunnessen. There is a moment where Tunnessen lowers Cody to the ground, careful and confident, the full weight of her on them as Cody continues playing a violin melody. This is the stuff of contemporary dance goodness. 

Finally, I observe that the strength of Tunnessen as a dancer is in the patience of their effort. Through slow balances and reaching extensions, Tunnessen shows steady strength and skill. In quicker, high-energy moments, they toss in tandem with gravity, moving efficiently and gracefully to express the complexity of yearning. 

“A Good Woman” will be performed twice more, on July 19th at 8:50pm and July 21st at 1:00pm in Cafritz Hall. This is a fresh work that is not to be missed.

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