Shake it for Grandma

In an undisclosed Chicago loft on Saturday night, Shake it for Grandma suited up for their show. They were the last of four acts - The Bomb Sawyers, Bob and Barbara Cobra, and Architecture had already graced the stage, while our heroes, being deemed the danciest, waited it out until late at night.

I, dear readers, had been called upon to join them.  I soon found myself covered in neon face paint, zipped into a shiny blue jumpsuit, preparing myself to dance like I was from outer space.

Your neon warrior narrator and Ian Reynold of Shake it for Grandma

My fellow dancer and I hid in the wings until our cue, and then burst out dancing as Ian and Ashley tore off their clothes to reveal shiny orange jumpsuits underneath.  Half the audience seemed shocked and put off by the display - the other half laughed and danced along. We drew lipstick symbols on peoples' faces - we danced with them - we gave them glowsticks.

Like I said before, Shake it for Grandma is an experience that's best enjoyed live. The performance is planned and executed with a vision in mind, a vision that changes and evolves with each new show.  It's meant to blur the line between audience and performers, which makes some people uncomfortable.

It's not for everyone, but it's safe to say that no one who was there, whether they loved it or hated it, will forget Shake it for Grandma's performance.