The Seven Fingers (Les Sept Doigts de la Main), tour presented by Arts Emerson at Emerson Cutler Majestic Theatre, through September 24. 617-824-8400 or artsemerson.org
Are people like two-sided walls that represent who that are on the inside and who they are on the outside? Gypsy Snider, The Seven Fingers' director-writer-choreographer clearly subscribes to this comparison-one she applies to the Montreal-based company's latest conception "Reversible."
During this 90-minute, no-intermission tour at the Emerson Cutler Majestic Theatre, four men and four women visually relate to ancestors in a variety of stunning routines and sequences that not only pay tribute to their mentoring predecessors but also demonstrate the luminosity of their own experiences. Seven Fingers aficionados and newcomers alike will thrill to the high caliber of their envelope-pushing in a show as satisfying as "Psy,'' their eye-catching first Hub offering.
While "Reversible" matches "Psy" for sharp pacing and non-stop acrobatic brilliance, it also calls to mind last years' "Cuisine & Confessions," which evoked its own individual memories-in that case involving food and cooking. At the same time, "Cuisine & Confessions" sometimes resorted to a kind of gimmicky interactivity with audience members where "Reversible" does not. With the impressive density of actual routines in the latter, the wide-ranging feats-from German wheel and juggling wizardry to pole poetry and aerial artistry-connect the individual performers and their acts with a singular subtlety of subtext and metaphor.
"Reversible" begins fittingly with designer Ana Cappellito's disarmingly rough-hewn exteriors that make way for handsome if fairly simple interiors. Quickly 'appointing' the spare set are the vivid recollections of the individual performers. One descendant wonders how ancestors were married for 65 years, while another describes a relative as "always sailing away." As set pieces literally move back and forth and sometimes away, performers are tellingly seen upside down or even above walls as movement reflects a kind of reconsideration of perspective and vantage point. In fact, Snider seems to choreograph everyday experiences-even a sequence involving opening a door. As one of the women struggles to find a key, she empties out her entire handbag only to have one of the men actually spot it. Although the somewhat helter-skelter situations of the performers contribute to an enjoyable jauntiness, they also suggest the need for cooperation in the face of uncertainty, a collaboration that enriches such standout acts as teeterboard and mid-air acrobatics.
The Seven Fingers' current tour-with performers from France, Spain, Switzerland, Canada and the United States-is so accomplished that audience members are likely to pick different standouts. Julien Silliau moves the German wheel with the performing ease of a Fred Astaire and brings equal dexterity to his quick pole descent. Emi Vauthey demonstrates a kind of magical command of a trio of gold-colored hula hoops as she twirls them around various parts of her body. Vincent Jutras defies gravity as he displays great skill jumping onto a skateboard as well as smartly maneuvering it. Natasha Patterson juggles an increasing number of red balls with sharp timing.
Maria Del Mar Reyes Saez proves a handstand wizard, sometimes balancing on one hand. Emilie Silliau imbues her aerial sequence with soaring poetry. Hugo Ragetly and Jeremi Levesque round out the show's immensely talented octet with their own impressive skills. Also look for rollicking cap play, an arresting whip-centered duo and an epiphany-like ensemble finale.
"Reversible" explores individual identities and human connection to past and present with visual brilliance. The Seven Fingers deserve a well-extended hand.