Molly Lieber and Eleanor Smith’s Prairie Dawn premiered at Roulette in Brooklyn
on
November 14th, 2024.
This is a Black cis man’s interpretation of their work.
In order to engage with the works of Molly Lieber and Eleanor Smith, you must be conscious of the forced perspective that is applied to the female body that relegates it (her, them) as a sexual object.
Once the viewer contends with the historical diminishment of women,
Once the viewer contends with the historical violence masculinity has inflicted on femininity,
Once the viewer contends with the fact that in 2024, 130 women in Sudan have committed suicide to sidestep sexual violence,
Once the viewer contends with the fact that we have a president-elect that is a rapist, misogynistic prick, and a government that thinks it has a right to control female bodies,
Once the viewer contends with the fact that masculinity has harmed him too,
Once the viewer contends with feminist praxis is concerned with identifying, interrogating, and halting coercive domination couched in patriarchy,
will they be able to take in the robust complications Molly and Eleanor submit to the contemporary performance landscape?
Molly and Eleanor delve into the intricate nuances that link their artistic work to the vibrant worlds of burlesque and the scholarly exploration of the female form in motion. They pose profound questions about the implications of women representing themselves as iconic nudes. Furthermore, they examine how this portrayal is complicated by the elements of nakedness—an expression of being exposed, vulnerable, and completely unadorned. A thoughtful analysis of the techniques and artistic choices by Molly and Eleanor in their latest performance, Prairie Dawn, at Roulette in Brooklyn promises to uncover a multitude of interpretations.
The title “Prairie Dawn” evokes serene imagery of expansive pastures, melodious birdsong, and a gentle fawn prancing playfully in the fields. However, the reality of this performance sharply contrasts with those tranquil scenes, revealing a raw and provocative exploration of femininity.
The audience walks into the Roulette theater to see Molly wearing a white T-shirt with the words “CUNT” airbrushed in the style of the early 2000s. She is standing posed in front of a mirror; foot arched, focus down. Set against the backdrop of the beloved musical Chicago, this piece features a score originally composed by John Kander and creatively remixed by James Lo. The remix introduces a fresh twist while retaining the essence of the original, enhancing the rhythmic pulse and melodic richness of this timeless tale of ambition and fame in the roaring twenties.
As soon as we take our seats, we hear the famous drag of the trumpet from “All That Jazz.” Lieber dazzles us with some musical theatre jazz, complete with the quintessential layouts and a black feather boa. Just when you think you know someone, they go and surprise you…
“Hey, where’s Eleanor?”
Eleanor steps into view, her presence commanding immediate attention. She wears a vibrant green snap-crotch body suit, its spaghetti straps delicately framing her shoulders, while the fabric drapes loosely over her form, leaving her beautifully rounded belly fully exposed. The air is thick with a mix of curiosity and unease as the audience observes this moment. They are invited to confront the underlying anxieties that often accompany pregnant women—fears and doubts that linger, suggesting that as pregnancy progresses, life itself comes to a gradual standstill. The contrast between Eleanor’s radiant figure and the palpable tension in the room highlights the complexities of motherhood and the societal perceptions that shadow it.
The score transforms into an aerobic, jazzercise rendition reminiscent of their most recent work, Durational Duet, which premiered at Invisible Dog earlier this year.
Eleanor, 10 days from giving birth, dazzles us with floor work, leg extensions, turns, and partnering, safely negotiating her rapidly changing body with apparent ease. (pun intended)
Instantly, the music stops, and we see Eleanor transform into a “chatty Cathy,” a stereotype often applied to overly talkative women. She sends her pool boy, Molly, on an errand to fetch her some water. Eleanor then confides to the audience that she has always loved the musical Chicago, but her parents forbade her from watching it because they considered it too sexual for her age. Without missing a beat, she adds, “And whoops, now I’m pregnant… it’s all about the internal landscape.” It was hilarious, and I found myself cackling uncontrollably.
The atmosphere shifts once again as James Lo adds live percussion to the score, along with Amanda K. Ringger’s impressive lighting design. We embark on a journey of sensibilities and metaphors. Eleanor and Molly navigate this space through solos and duets until we finally encounter the work’s namesake, Prairie Dawn. Portrayed by Molly, we discover that Prairie Dawn is, in fact, the well-known, sober-minded character from Sesame Street.
Through the rawness and comedic timing of Molly Lieber, we learn that Prairie has a penchant for sodomy and a distinct appreciation for sexual experiences. To the untrained viewer, this may appear trivial; however, as a device, it is strikingly incisive. Molly is recontextualizing the quintessential female figure from the ’70s and transporting her into 2024, transforming her into an adult—and making her adult. This choice challenges the prevailing notions that “virtuous women” are inherently nonsexual.
Molly and Eleanor gracefully navigate the metaphorical landscape, employing a mirror that reflects not only their images but also the audience’s gaze. As they delicately apply mascara and lipstick, they invite us to explore the deeper meaning of self-adornment—a ritual of beautifying oneself purely for one’s own sake. Their performance is a visual feast, masterfully intertwining choreographic conventions of tableaux with the flowing drapery of their vibrant muumuus, which evoke the timeless sculptures of Venus, symbolizing the feminine ideal throughout art history.
The stage is transformed into a canvas of familiar motifs that Molly and Eleanor have intricately woven into their acclaimed work, Gloria. This performance not only showcases their creative resourcefulness but also serves as a powerful precept of their feminist praxis, challenging conventional beauty standards while celebrating self-empowerment. The audience is left entranced, reflecting on the rich interplay between individual identity and societal perceptions of beauty.
As the show ends, I remember that this was all improvised.
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