Jane LeCroy and Bradford Reed‘s kinetically hypnotic, thought-provoking performance last night at Dixon Place was a booster shot to the synapses. Becoming immersed in their performance was like re-reading Steppenwolf, or La Nausée, a gut check to make sure all systems are still working. Reed played not his famous invention, the pencilina, but a thicket of multicolored wires and effects, like something from under the hood of Martin Rev’s earliest synthesizer. Reed activated it by beating out a steady, syncopated groove on a snare and an ominous-looking, upside-down, jet-black steel chemical drum, then running those beats through the maze of wires and boxes for textures that varied from bleeps and bloops to gentle pulses and washes. The chemistry between the two performers was intuitive, varying the dynamics as the emotional arc of LeCroy’s vocals and poetry rose and fell. Meanwhile, time-lapse footage of boats on the Hudson and cloud formations overhead flitted and shifted shape, projected on a screen above the stage.
LeCroy alternated between a tersely considered spoken-word delivery imbued with a puckish existentialist humor, and hazy, dreamy vocals informed by vintage boudoir soul music. On the night’s most dramatic and intense piece, her voice took on a stern, stark, defiant quality that drew heavily on centuries-old African-American spirituals. Steadily and methodically, she drew the audience in and never let them go. Trying to figure out what was improvised and what was not was a lot of fun. As the music and grooves unwound, it was hard not to get lost in them, but LeCroy’s sometimes gentle, sometimes biting challenges to the audience peppered the reverie and, intentionally or not, jarred the crowd out of their dream state.
The grim progression of time, and by implication, the ravages of age, were recurrent themes. LeCroy offered matter-of-fact cajolement to anyone willing to listen, to exercise their freedom and seize the moment. But her tightly crystallized litany of images and mantras owed far more to Sartre or Kierkegaard than to any new age source. Her funniest stream of consciousness rap involved teeth and what happens to them when they’re neglected. Her final piece was an improvisation based on themes suggested by the audience, which turned out to be kindness and smoke. How she wove those images together into a bigger picture, bringing her calmly determined, angst-fueled contemplation full circle, was as subtly amusing as it was nonchalantly and unselfconsciously profound: LeCroy loves double entendres and subtext and can’t resist employing as much as she can come up with, on the fly, plotting her next move. The experience was as therapeutic as it was challenging.