"Girl Gods explores female anger and appetite" - The Seattle Times reviews Girl Gods Oct 2, 2015
"...The interplay between the performers and Holly Batt’s marvelous interactive wall structure is one of the more inventive and captivating elements. From its nooks and crannies, and from behind removable bricks, the ensemble of five women retrieve an assortment of archetypal objects.
They pull out boxes holding designer Frances Kenny’s symbolic outfits, and frequently change in and out of them. There are frilly, girly party frocks for a line dance of little Shirley Temples striking fake-cute poses. There are casual togs several sizes too small, which a dancer humorously, embarrassingly, squeezes her body into as if to deny adult womanhood. There’s a low-cut red cocktail dress for another kind of posing.
One of the sharpest sequences comments on the persistent social imperative to deny one’s appetite to stay pencil-slim. A kitchen apron is retrieved from the wall, and a chicken in a pan. The cooked bird will be cut into several teeny-tiny portions and served. But none of the slender diners can bear to eat a morsel — though one dancer sneaks off to binge on a cupcake hidden in another of the wall’s niches.
In bits of taped interviews heard on Amy Denio’s diverse sound score, older women talk about the difficulties of expressing anger when only men were allowed to do so. Not surprisingly, “Girl Gods” culminates with eruptions of kinetic, earthy rage, with women in their regimental little black dresses thrashing and kicking in the dirt.
In the end it is only screaming-blue anger that purges and heals and instigates the creation of a mandala spread across the stage.
Graney’s dancers are tireless and supple, and include a child who makes several cameo appearances. And this award-winning Seattle dance maker’s choreography is by turns meditative (with flowing upper body movements), ironic and explosive, and there’s a commitment and urgency here."