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By Christine Jowers/Follow @cmmjowers on Instagram
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Published on November 6, 2023
Jessica Amber Pinkett. Photo by Steven Pisano
Writer, Director, Choreographer: Hope Boykin
Composer: Ali Jackson
Lighting and Set Designer: Al Crawford
Costume Designers: Hope Boykin and Corin Wright
Artists: Hope Boykin, Davon Rashawn Farmer (The Convinced); Jessica Amber Pinkett (The Determined), Lauren Rothert (The Conformist), Bahiyah Hibah Sayyed (Daughter of Job); Fana Minea Tesfagiorgis (The Cynical); Martina Viadana (The Angry); Terri Ayanna Wright (The Worried)
Dramaturg: Mahogany L. Browne // Sound Engineer: TJ O’Leary // Associate Lighting Designer: Wheeler Moon // Sound Consultant : Gibson Entertainment Services Audio Specialist : Jonny Messena // Production Stage Managers: Chelsea Gillespie and Gina Solebello // Assistant to Ms. Boykin: Marley Poku- Kankam
The Joyce Theater, October 17, 2023
Hope Boykin, radiant with a thousand-watt smile, has a voice whose warm tones envelope you. Open, positive, clear, musical, wise at times, vulnerable at others, one feels a certain star power in her presence — and that’s not the aloof “please-don’t-make- eye-contact-with-me” kind. This magnetic woman could be your sister, a cousin, a best friend, a partner.
As Boykin begins her evening, States Of Hope, the fully-scripted dance theater work which she authored, choreographed, and directed, she unexpectedly descends the stairs from the back of The Joyce Theater house. Walking through the audience towards the stage, she muses on the meaning of love: “I’ve been starting to think that I am one of these women who think they will put up with anything for the simple sake of wanting to be held and loved… What is love? Unconditional foolishness accepted? Reasonable trifling individuals permitted?”
Can you hear the “Aha’s”? Who among us hasn’t ruminated over the oddities of relationships or what we’ll put up with to be in them? From her entrance, we're captured by Boykin. So, I wondered why, after her engaging introduction, she chose to sit down at the edge of the stage in darkness and not reappear until curtain call. (By the way, the opening night curtain call was fantastic. Boykin simply beamed as she introduced each one of the cast personally, and we beamed with her.)
Now Boykin does narrate at points, asking questions, playing with words and rhythms, staccato, legato, repeat, pause, breathe…The house brightens with her spoken-word poetry. But for the most part she leaves the talking to her cast, seven artists embodying seven different aspects, or states of her mind. Each state has much to proclaim, define, ponder, and argue over. And this happens at great length, often with full-throttle earnestness. Things get noisy rather quickly!
Pure dance by the entire cast of excellent movers provides respite from the cacophony of concepts. Davon Rashawn Farmer and Martina Viadana have the particular gift of being able to spring into expansive leaps and daring balances out of nowhere. Terri Ayana Wright is sadly, and at times comically, convincing as the hunched-over worry-wart side of Boykin’s personality. Her continual drifts from listing fears to counting from one to eight ( as if in the midst of choreography) resonate with the dance audience.
Ali Jackson’s music —easy-going and club-like, inspirational with gospel flavor, or pronounced with horns and percussion— creates vibes and moods that support the piece and draw us in.
Bahiyah Hibah Sayyed, a marvelous dancer and actor, makes a mark whenever she’s present. As the Daughter of Job, hers is the most mature, dimensional character. We can sense, she’s been through her share of trials and has come out on the other side. Her centered voice reassures.
Sayyed’s lush dance solo performed early on to Jackson’s flowing piano composition, convinces us of the resilience of a broken heart. Traversing the stage she states her power with rippling shoulders, incessant spins, and lofty kicks which flip her body's direction in space. Along with an impressive strength, Sayyed exudes a welcome serenity.
The concept, creativity, and challenge, of presenting one’s life journey through the voices and bodies of other artists is to be appreciated. Yet, I found more myself longing for more open spaces, fewer words, and the mature perspective that comes with becoming a human of a certain age. I wanted more Hope.
