New York City Center 4/3
Sara Mearns – Don’t Go Home

        One of the story lines in SMASH, now in previews on Broadway and choreographed by Josh Bergasse, is that the actress who is supposed to portray Marilyn Monroe temporarily and intentionally loses her own identity and "becomes" Marilyn. She only responds to people who address her as Marilyn. Every minute of her day she is Marilyn whether she's working on her play or not.

        In the premiere of Don't Go Home, a dance-theater production at City Center that only runs through Saturday night, Sara Mearns is riveting as the dancer "Sara" who intentionally loses herself in the character "Claire" in every way possible in order to get to the character's truth and reveal it through the choreography. She even rearranges the furniture in her apartment to make it the way her character would want. "Sara" stalks "Claire's" psyche relentlessly and humorously while her director employs comments in a stereotypically condescending tone to get her to move along with the tasks at hand.

        What a delightful surprise it was to hear Mearns speak theatrical lines with such polish and skill. When at the foot of the stage peering out while wondering what the off-stage director was whispering about her, she was very, very funny. Frank Wood as The Director nailed the patronizing nature of the character, and Mearns played off of it like a pro.

        Gilbert Bolden III in the dual role of her two boyfriends landed his theatrical debut on the City Center stage spectacularly. As Mearns' dance partner and foil, he was exceptional. It's now fair to invite comparison of his huge talent to Marcelo Gomes with whom Mearns performed several years ago in the City Center production of The Red Shoes. Bolden, the newest principal at New York City Ballet, is also a "stage animal" in this production.

        Guillaume Côté developed the concept of Don't Go Home and is the choreographer. He is also credited as a director along with Jonathon Young who wrote a clever and captivating script. We're always interested in what Côté has to say on stage. His imagination and skills cover several disciplines, and his artistic endeavors often have a visionary leaning that holds the viewer's attention. His choreography and staging for Mearns, Bolden, and at one point Anna Greenberg was interesting and original. But because so much of the "music" was unaccompanied percussive banging, we can't say that there was anything at all "musical" about it. It was countable, but not musical. Nevertheless, we enjoyed following every step, pause, and movement direction for all three onstage performers.

        Marc Happel designed the costumes — pleasingly simple, nothing pretentious. Brandon Stirling Baker's lighting designs enhanced every second of the program with striking blackouts and spots. He certainly knows how to light Sara Mearns to gorgeous effect. No one was credited with makeup and hair, but we want to mention that whenever Mearns has appeared on the City Center stage, her makeup has been stunning and revealed her like we rarely see on stage. We've often wished to see more of the same on the NYCB stage rather than the swept-up 'do and gothic eyes and lips.

        The second part of the program, Dance Is A Mother by Jamar Roberts, was less appealing. The cast included Mearns, Jeroboam Bozeman, Ghrai DeVore Stokes, Anna Greenberg, and Roberts. It was mostly aerobic arm-dancing like one might have seen in a 1990s dance/fitness video. There were moments of nice ensemble work. Admittedly, Roberts could stand on stage wearing a paper bag and our eyes would be glued – so long as there were arm holes in the bag. This dance will appeal to some, and it was warmly received last night.

        We're going to throw Sara Mearns an H.H. Pump Bump Award for this unexpectedly delightful and entertaining project which she curated in conjunction with New York City Center. It's pretty clear what her Act II is going to be and we think it's going to be great.