“Some Times at the All Ways”
at the Marigny Theatre
Ambush Magazine
February 2, 2010

Any show that begins out on the street and then takes and audience into the bowels of a theater is all right by me. And Scott Heron's performance art/dance piece “Some Times at the All Ways” certainly did just that – and more!

Starting on St. Claude Avenue where the rock-n-roll band Agapanthus played on the roof of Heron's mini-van, “Some Times” continued on into the AllWays Lounge where nine actor/dancers portrayed various bar patorns (a tuxedo-ed gent, a pregnant lady, a party boy, a drag queen, two lesbian cops, etc.) engaged in sylized, abstract activities (drinking, talking, brawling, etc.) interspersed with moments of bopping to a sissy bounce dance beat. Peculiar and fun.

The cast then gathered on the state to do an exuberant line dance to Cher's “Dark lady” before heading into the Marigny Theatre's foyer where, amidst a recreation of Cafe Lafitte's “Love is in the Air” napkin toss, there seemed to be a poltergeist in the box office. Playful and kicky.

As we were led into the actual theater, Heron in a mordant, seemingly religious ritual was transformed into a befeathered bird with glittery arms and big, papier mache feet. Witty and strange.

Finally, after Heron has showered as the audience was setting itself into an impromptu theater on the actual stage of the Marigny, he began a series of dances that beautifully and theatrically, embraced various cliches while turning them on their heads. The actor/dancers reappeared in muted beige outfits to serve as a dedoubtable corps de ballet and if the ending was more whimper than bang, there had been plenty of bangs throughout including the marvelous birthing of a baby of smoke.

And did I mention bagpiper Luke Brechtelsbauer?

Much as I admire Heron's imagination for creating this visually stunning and viscerally tickling extravaganza, I was most impressed with his delicate, highly polished skills as both a modern and ballet dancer as well as his terrific talents as a mime in the Marcel Marceau tradition.

What did it all mean? I can't say for sure (and I'm not sure Heron can either) but I'll not forget this theatrical phantasmagoria for a long time.

— BRIAN SANDS