The six female dancers of The Naked Stark stand in a line facing upon a raised ledge above the subterranean Kelly Pool (not visible to the viewer). They face forward, wearing bright, electric green, patterned swimsuits and blue sweatpants. Five of the women gesture with their right arms stretched straight upward with their bent left arms resting on their chests. Each looks up toward her extended arm. The sixth woman forward bends over, her head and face into her torso, hiding. Precise side lighting illuminates their bodies with a silvery glow in the otherwise dark space.
Photo: Bridgette Ivkovic

The Naked Stark’s Deep Dive Enchantment at the Water Works

Jonathan Stein

Site specific dance is enchantingly alive in The Naked Stark’s collaborative dance Flood, begin again. While the genre may be an endangered species given the considerable time and energy required to master a constellation of safety and design considerations as well as historical and environmental factors, the company has created a vibrant dance work filled with invention, joy, and history at the subterranean Fairmount Water Works Kelly Pool. 

A relic of the early 19th century, the site stands along the Schuylkill River, which shimmers in early evening light directly adjacent to where we sit; the river has repeatedly flooded the space we are in. Flood, begin again, has begun.

The performers weave together a water narrative full of bottom crawling and swim strokes. They glide past mottled concrete walls in their bleach-blotched white and blue jumpsuits. Their movement connects us to pre-historic pasts, first fetal explorations, and cosmic spheres. (A recorded voice speaks to “swimming through the stars, in constellations, or through schools of fish.”)

The work is rich in physical contact, both among dancers and between the performers and the elevated ledges and columns that make up the architecture of the site. The watersouls exude an intimacy that extends beyond themselves out to their (and our) environment.

Wit and whimsy, which are always pleasurable offerings in Naked Stark work, appear within gems like a synchronized canon of back-rolls to take off shoes, and a swimsuit photo scene which enacts an elimination-style contest to Cindi Lauper’s anthem, Girls Just Want to Have Fun; as each “contestant” gets eliminated, they dive or jump into an unseen pool space to the crash of cymbals. Performers often surprise us, emerging, wide-eyed, from lower, hidden spaces, to discover us anew.

The performance is bestowed with the brilliant contributions of composer/performer Andy Thierauf—a one-man orchestra of acoustic, electronic and recorded ambient sound—who enlivens every moment of the performance, and lighting designer Harbour Edney whose subtle and evocative lighting modulations differentiate each scene and action. 

A storm-and-flood narrative later unfolds reflected in racing runs and leaps to the sounds of drum rolls, bass beats, and perhaps a shipwreck in distress. The survivors slowly emerge, standing on a ledge, heads dripping with water. We sigh with relief. We readily join them to begin again.

 

Flood, begin again, The Naked Stark, Fairmount Water Works, Philadelphia Fringe Festival, Sept. 26-Oct. 3, 2026 ( Katherine Kiefer Stark, Amalia Gabriel Colon-Nava, Chloe Marie, Harlee Trautman, Marcie Mamura, Meredith Stapleton, creator/performers; Andy Thierauf, composer/performer; Harbour Edney, lighting designer/operator; Aubrey Donisch, managing coordinator).

An earlier iteration of this work was reviewed by Zoe Farnsworth in tD in 2025.



Share this article

Jonathan Stein

Jonathan Stein has retired from a 50 year career in anti-poverty lawyering at Community Legal Services where he had been Executive Director and General Counsel, and remains Of Counsel. He is a member of the board of directors with thINKingDANCE as well as a writer and editor.

PARTNER CONTENT

Keep Reading

The Sand Is Alive

Brendan McCall

Dance, glass, and music invite a deeper contemplation of sand

A woman is in a headstand, while a man stands nearby with his arms raised in shadow to her right. Both wear tan, form-fitting clothes with strips of white plastic running along the outside of their limbs and backs. On the white walls are unusual glass sculptures that look like waterways.
Photo: Natalie Moore

Cryptic Precision: On Vanessa Kamp’s ‘Houndstooth’

Mang Su

'Houndstooth' unleashes the subversive power of parody with bewildering precision.

Seen from a low angle against a black background, a performer wears black blazer and bright red shorts with a black drawstring. Crinkled yellow cellophon covers their mouth and cascades down their chest, with a loose flap jutting to the left. They look down toward the camera, one hand raised near their abdomen and the other hanging beside their thigh.
Photo: Pep Casadevall

Join us for