(Katherine Cooper’s article appeared 11/5.)

When I walk through the cement bowels of the Abrons Arts Center and into the rehearsal room where Tina Satter’s House of Dance premiered on October 23rd, it feels like home. I sense an immediate affinity for the ludicrous, absurd, and ridiculous. House of Dance chronicles the emotional and choreographic events of a one hour tap class in a dingy basement. Think: Glitter. Pink. Bandannas. Tap shoes. Hilarious puppet dance breaks abut poignant moments of silence. Operatic music breaks rub up against mundane cellphone vibrations. Actor, Jess Barbagallo whips out the most ridiculous bright pink monster suit you’ve ever seen from a backpack covered in middle-school-esque graffiti and then proclaims with complete sincerity, “I want to look and feel pro and awesome, you know.”

It feels like a queer version of Santa’s workshop.

Members of the cast and crew dart around the room adjusting sound levels, pieces of choreography, and angles of miniature top hats. This basement room houses these students of the ridiculous and Tina Satter is their leader. As I sit down to speak with her it becomes clear that while she is profoundly devoted to stupidness she is also a scholar of form.

It seems fitting that Belinda Carlisle’s Heaven is a Place on Earth plays in the background of the Williamsburg coffee shop where we sit and talk. Tina wears a neon insignia-ed lid that says “LA.” in rainbow letters. She is small and wired. Her gaze remains focused and unflinching. She often encourages her interlocutor with an affirmative “yeah!” or “riiiiight…” I’m struck by her combination of youthfulness and sagacity. Tina’s eyes twinkle with mischief and she has a laugh like a fat man. She takes play very seriously.


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