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Watching Rui Horta’s Object Constant is like walking through someone else’s dream—disjointed, provocative, disturbing, and beautiful. The full-length program begins with a poetic monologue, a lullabylike story about a house in the country that’s “the color of the sky.” In the darkness that follows, we hear what sound like gunshots. As the lights are raised, we see that the “shots” come from a harsh game of dodge ball, the balls are the first in a series of circular objects to appear onstage; dancers later send bowling balls skidding toward each other and skip across a marble-filled stage. As a whole, the ultramodern piece is very stylized, like a music video for Phillip Glass or Meredith Monk. Silence and sound play against each other, as do darkness and light, which periodically takes the form of bright “alien abduction” flashes. The drum-based theme is reminiscent of the cues for danger or excitement in action-movie soundtracks, which becomes maddening at times. However, the clarity, consistency, and strength of the S.O.A.P. Dance Theatre’s eight dancers is of a rare quality. Even a partial-nudity scene manages to avoid cliche due to the dancers’ intensity. Standouts include the solos and a scene in which the dancers, coupled and standing in squares of light, seamlessly change partners. This brief interaction speaks volumes about desire, sex, the transient nature of modern relationships, and other inconstant objects. At 8 p.m. at George Washington University’s Lisner Auditorium, 730 21st St. NW. $21.50-26.50. (202) 994-6800. (Holly Bass)