The choreographer Symara Sarai knows that there's something cathartic about a good fight. Their most recent work, a "dance play" called "Angelic Architectures," has its cast members in various states of scrabble on stage, whether physically pulling at one another, in psychic battle with themselves, or actively addressing the audience in a fashion that recalls a group of girls outside the mall, talking shit and squadding up. There's even a point in the piece during which the trio engages in some spirited chair-throwing, tossing plastic-covered seats into a pyre-esque pile, with a live score of mouth sounds and loop pedals conveying the turmoil and chaos. Sarai's description for "Angelic Architectures"—"the inner anarchy of Black queer femininity"—was not an undersell.
