Madness in Mad Heidi.
From the moment the audience filed in to Yvonne Meier's Mad Heidi/Limpopo and saw Ishmael Houston-Jones taped to the floor, jerking his head up, screwing up his nose, and glaring at visitors, we knew this was a manic fool in the best tradition. He pried himself free of the tape, lurched across the floor, then crouched behind a ledge, tapping his fingertips together with obsessive glee. His performance brought to mind something the Philadelphia dancer and mentor Hellmut Gottschild once said: "I always wanted to be an old fool. I don't know if I've achieved that because I have too much good taste." Houston-Jones' fool--priceless, foolish, unpredictable--fulfilled Gottschild's wish last winter at the Danspace Project. And he went so far beyond good taste that he became (prematurely, of course) something of a holy old fool.