The Kitchen, New York City
December 8 2011

By Tara Sheena.

The mark of a truly great artist – some may say it is technical virtuosity; some may deem sheer creativity; some may think public persona defines ultimate artistry. In my humble opinion, duality in artistic works is a telling feature. Work that exposes the relationship between two seemingly unrelated things; work that reveals connections between two worlds; or, work that strives to show that our world has greater levels of interconnectedness than we previously thought true. On these claims alone, Kyle Abraham is, in my mind, a great artist. His Bessie-award winning evening-length work, The Radio Show, dealt with the expiration of famed Pittsburgh hip hop radio station WAMO, while simultaneously exploring the debilitating conditions of his father’s Alzheimer’s. In his newest work commissioned by The Kitchen, Live! The Realest MC, Abraham pairs the story of Pinocchio with a young male’s emotional journey of coping with his gay identity. Abraham and his company, Abraham.In.Motion, displayed this evolution of sorts via the mark of hip-hop culture. From the music to the video projections, to the fashion, Abraham’s work, presented in early December, was a whirlwind of urban energy from start to finish.

I entered the venue on Thursday, December 8^th to the preshow music of pop songstress and icon of the gay community, Robyn. Beginning with a delicate solo by Abraham, donned in gold sequin racer back top and metallic gold pants, he filled the space with subtle pops and locks that were game for explosion at any second.  Making a motif out of effortlessly balancing on his toenails, he established the duality of vulnerability and strength that effectively coexisted throughout the entire work.

Outfitted in ‘old school’ Adidas jumpsuits, Elyse Morris, Maleek Malaki Washington, and Chalvar Monteiro then charged through the space, and Abraham backed away, as he shed light on a moment of nostalgia. The video backdrop (impressively designed by Carrie Schneider) revealed the daily adventures of a young boy in urban America running through the city streets, jumping fences and chasing friends. This was just one of many memorable vignettes Abraham provided his audience.

The scope of hip-hop culture and attitude permeated throughout the work, in equally thrilling and notable moments. At one point, Hsiao-Jou Tang and Rachelle Rafailedes engaged in a fast-paced series of harsh leg tosses and quick spirals to enliven the heavy pounding of the bass in the diverse musical score (edited by Herman “soy sos” Pearl). At a split second’s notice, the ladies both slowed down to pedestrian walking, as if their flurry of movement never happened. This ‘too-cool-for-school’ attitude worked as a practical narrative as much as it did with satire for the piece (more duality!).

In a standout moment, Chalvar Monteiro entered the space, clad in short shorts that put Daisy Duke to shame, to give us his own brand of voguing. Strutting and shaking through the space, Monteiro was unapologetic about sky-high battements, punctuating his smooth, sassy movements. Stopping short of satire, he impressively displayed another important duality in the work: the gender economics of hip-hop culture. Monteiro clearly displayed a decidedly feminine aesthetic, further emphasized against Maleek Malaki Washington’s overpowering masculinity (at one point causing him to utter the insensitive male quip, “Damn, can I hit that?”).

Seamless in its duality, Abraham’s newest evening-length was enthralling from start to finish. The dancers were fierce, the lighting (designed by Dan Scully) was expertly crafted, and most importantly, the work made me think.

Photo: Kyle Abraham and Chalvar Monteiro. Photo by Cherylynn Tsushima

McKittrick Hotel, NYC
September 6 2011

By Leigh Schanfein 

Already heralded as a show completely unique to Broadway theater goers, Sleep No More is a bold Off-Broadway production that does everything but follow the trends of the popular theater scene.  Bright lights, starlets, bustling crowds: what do you expect from your Broadway experience?  Don’t expect that here.  Walk away from the electrical illumination of Times Square down ever more shadowed streets.  Leave the throngs of enthusiastic bright-eyed pleasure seekers, and seek something unknown nearer the dark waters of the Hudson.  Once you’ve arrived at the formerly grand, now transformed, McKittrick Hotel, proceed to experience a show as you never have before.  Experience Sleep No More.

Sleep No More is an immersive theatrical experience developed by the British theater company Punchdrunk, housed in what was several warehouses and then nightclubs in New York City’s Chelsea district.  The entire building, renamed the McKittrick Hotel, is outfitted for the production, each room decorated with painstaking detail to create a true environment for the actors and audience in this modernization of Shakespeare’s Macbeth.  Theatergoers quickly lose their tenuous audience classification when they are shipped to one of the hotel’s floors and thrust into the set of this production that takes over the entire building and all of your senses.  It’s difficult to remember once inside that this is not merely an immersion in a parallel world, it is also a show and you are going to have to seek out the scenes yourself. 

The production feels like a choose-your-own-ending novel in the real, where one must, in real time, walk through and observe an enacted scene and then choose which path to take next at the scene’s end.  You make your decision and continue.  Of course, you want to know how the other choices would have panned out, so you must physically go back and begin following another path, in real time, to its next point of bifurcation.  Then you make a choice again.  It is an amazing concept – the pages are already written, the scenes play out whether you see them or not, and you have to make the right choices to reveal them.  Of course, I did not realize this at first. How ignorant I was! Stepping off the elevator to see a slew of audience members race in pursuit of an actress who looked like she might be a nurse, I promptly headed in the other direction to “explore.”  Well, after an hour or so of exploring the hotel’s various desks, drawers, books, nooks, crannies, closets, ballrooms, bathrooms, living rooms, storerooms, doodads, things, trinkets, and halls, strange smells and all, I realized I was doing it wrong.  I had forgotten it was a show, a low-volume high-intensity show, and I had to create it myself with (only) up to three hours in which to do it.

I began working through the scenes as best I could, trying to catch actors and stay with them along with a handful to a throng on other observers.  In real time, we were trying to follow one of 12 characters (as far as I could tell there were 12, but maybe I never found some..) through his or her own tale, going in and out of other characters’ sequences, sometimes breaking off to follow the newly introduced until his or her sequence similarly became enmeshed with another.  It became clear after some time that the show essentially repeats every 30 minutes and that I likely would not have time in one evening to catch it all. 

By now you are probably a little confused, thinking “actors…but what about the dancing?!”  Well, all of the actors are dancers.  And, they are all superb.  There was not a single moment that was not fully embodied in every way.  Not a moment when I didn’t know them to be their characters, nor a moment that I didn’t feel I should stay half hidden behind a column or doorway because I was an intruder eavesdropping on their lives.  Through it all, I caught five dance sequences: a lusty duet in a storeroom, a frantic duet at hotel registration, a fraught and ultimately destructive trio in the barroom, a fantastical waltz consuming most of the cast in the ballroom, and a powerful duet wrought with brutish beauty and fueled with anguish.  The latter duet was the final act of my experience at the hotel that evening.  It was a gorgeous, ugly fight, a final scene in a strange production that bewitched me.  Two other scenes of note were an exquisitely staged slow-motion climax at a banquet that I watched, exhilarated, three times by chance, and, what was oddly my favorite element other than the final duet of my night, an entrancing, brilliantly acted lip-synch of Peggy Lee’s “Is That All There Is?” by one of the male actors.  I can’t tell you why, but I was mesmerized.

And that’s one of the great things about Sleep No More, I can’t tell you why.  In fact, I really can’t tell you much when it comes down to it.  And, to be frank, I had just about no idea what was going on the entire time. I read and enjoyed Macbeth about 10 years ago, and remember nothing.  I chose not to read any reviews of the show or brush up on my Macbeth prior to viewing it because I did not want to taint my experience.  This too, I believe I did wrong.  I recommend that you go ahead and familiarize yourself at least minimally with the plot so that you feel the magic of realization when elements come together, and so that you don’t feel like you are perpetually missing something.  Of course, no matter how you are when you enter the hotel, it will still be a spectacular show and exquisite undertaking!

Notes:
Don’t worry, I haven’t revealed a thing!  It will all be new to you.
Allow a minimum of two hours, though you’ll probably want to go for 2.5 or 3.
You might be doing a lot of standing and walking (or running) and there are only stairs between floors, so don’t dress for the club.
You must check your bag at the entry point ($3) no matter how small.
You will lose track of time so wear a watch if you need to meet a hot date after the show.
You may view nudity if you are in the right (or wrong) place at the right (or wrong) time.
You may have mild to heavy interaction with a performer.  Let it happen. 

For Information and Tickets visit sleepnomorenyc.com

18 Shows over 3 weeks by LA’s most incredible artists.

By Alex Little.

It was this past Spring when Dee Caspary posted an event called “The Nvitational” on his Facebook wall. I knew an event created by Dee Caspary would be something worth looking into, because if I know one thing about this man, it’s that he doesn’t post much.

OK, truth be told, what I know about Dee is that he is an incredible artist, visionary, risk-taker and of course, choreographer. When I spoke with him a few months back, he was fired up about the Nvitational, to say the least. The opportunity to bring together various great choreographers, dancers and musicians into a festival of performances in North Hollywood was the first of its kind in Los Angeles, and there was to be three weeks of shows! As Dee said, “there is no place for choreographers to present their work, outside of Carnival, unless they produce their own show”. Instead, the El Portal Theatre, the city of North Hollywood and Dee Caspary produced the shows for them.

Here are some reviews of the festival’s highlights:

Who We Are – Jennifer Hamilton

By Alex Little

I was thrilled to have the opportunity to see Jennifer Hamilton’s showing of “Who We Are”. The audience was humming with excitement, and as I glanced around I met eyes with many big names in the industry. We were all there for what we knew would be sensational. “Who We Are” did not disappoint, in fact sensational doesn’t even cut it. If you know Jennifer, or are familiar with any of her work, you know that she is the real deal. She is one of the most grounded, authentic and talented artists in our community, and her work always reflects these attributes.

Beginning with a projection of birds flying across the morning sky, the stage slowly filled up with her full cast, dressed colorfully, walking and moving in various patterns, slowly meeting one another, couple by couple. The vibe was upbeat for the first two pieces and there was a feeling of pure joy and happiness on stage. The all-male piece was funky and almost “Movin’ Out” in feel, featuring strong masculine movement. The camaraderie felt on stage permeated into the audience, as we found ourselves grooving with the dancers. The seamless transitions from one piece to the next kept the show’s thought line clear, all told through Hamilton’s distinct movement. Hamilton’s repertoire is quite accessible to all audiences and I could see her work being successful on all stages, Broadway, television or movies. She has range.

The show continued with more projections of the sky, like a day was passing by. It felt like Hamilton was paralleling the cycle of a day with the cycle of relationships. My favorite dance was the third piece called “Cold Water”. It was the story of two couples in distress and a third, in a love triangle. Hamilton’s direction in this piece was more astounding than the choreography, which I believe is the mark of a brilliant creator. Between Hamilton and the dancers’ characterization, I was mesmerized.  It felt like we were watching a movie, not sure how it would end. The story felt relatable. I can’t imagine that we all haven’t been one of the seven characters at some point in our life. Colleen Craig and KC Monnie stood out in this piece, and throughout the entire show. Kelly Allen was also a notable performer.

The show ended with an all-girls piece, where Hamilton showed her jazz roots, asking for strength, sensuality and strong technique. Boy, did these ladies give it to you! The finale was a beautiful, loving duet performed by the incredible Genise Rudiaz and KC Monnie, then joined by the entire cast to “Crash” by Dave Matthews. It was such a fitting piece of music, choreographic phrase and performance to conclude the tale of “Who We Are”, as the projection on the cyc was a glorious sunset. Thank you, Jennifer Hamilton. Your vision came to life and moved me in a profound way. I think it is safe to say Hamilton’s craft is unparalleled and her work will be seen on larger stages soon.

Amor

By Alex Little

Kersten Todey, Jessica Lee Keller and Ben Susak were the creative team behind “Amor”, a performance combining live music, spoken word, and dance. In addition to this, lighting was also a major element in this love story, as the dancers spot-lit each other with 4 box shaped lights, manipulated by the dancers, setting the mood of each piece and directing the audience’s eye. This was one of my favorite elements of the work.

The show began with dancers Natalie Reid and Ben Susak, each performing solos to the spoken words of Jessica Lee Keller and Robert Earl Sinclair. The intimate Forum Theater was the perfect setting for such artistic choices, and one could hear a pin drop in the audience as the dancers moved with each word and breath, in and out of the spotlights. During his recitations, Sinclair was on stage with the dancers. This was such a lovely directorial choice, as it made it feel as though Ben Susak, and later Chaz Buzan, literally were his voice. More dancers eventually joined the stage in “Lullaby”, sung by the beautiful Debra G, musically accompanied by Joe Gilette and Cameron Dean.

The lighting of the show kept the continuity extremely engaging, as did the ever-changing pacing between music, words, silence, solos, duets and group pieces. I take my hat off to the choreographers for their arrangement of the elements in “Amor”. Kersten Todey’s choreography shined in “9 Crimes” as she arranged her movement ‘in the round’, just as the theater was constructed. Not only did Kersten’s intricate choreography define her vision clearly, but it highlighted the gut-wrenching story between the principal couple, performed by the aforementioned Keller in a brilliant red dress, and Mason Cutler.

Keller’s choreography in “Burnin Up”, a quartet of four women; Katherine Wolanske, Mandy Korpinen, Ashley Glavan and  Elizabeth Petrin,  was one of my favorites of the night. The blend of Keller’s intention and her work with the singer Debra G, came through with her elegant movement and staging. Sometimes it feels nice to breathe with a piece, and this was just that for me. Susak’s choreographic highlight was the upbeat and energetic ”Live Forever” featuring the entire cast. This piece looked like an incredibly challenging work to execute, but the dancers performed it with a sense of ease, power and their hearts on fire! I loved his use of running circularly, and the adventurous ways he utilized the spotlights.

I commend Todey, Keller and Susak on their execution of their vision “Amor”. With a cast of incredible dancers, musicians, singers and speakers, art came to life, all at once.

Choreographer Mandy Moore

A Night at the Piano

By Alex Little

I am so happy that I was in attendance for this particular show! It ran about 40 minutes in length, and here was the premise: ask Dana Wilson,  Mandy Moore,  Amanda Leise, Tony Testa, Matt Cady, and Dee Caspary to each choreograph a piece to a song that would be played live by pianist, Kevin Su Fukagawa. That’s it – a taste of some of Los Angeles’ best choreographers in one sitting. The intimate setting of the Forum Theater was perfect for this show. It began with Dana Wilson, who danced a brilliant solo, dressed in black and white with a painted mime-like face and white satin gloves. Wilson’s choreography was a fusion of gestural contemporary meets pantomime, to tell a sad story of what seemed to be a lady asking for love or acceptance. It was one of my favorites. Wilson was impeccable.

Wilson was followed by Dana Fukigawa and Will Loftis dancing to Adele’s “Rolling in the Deep”. Mandy Moore’s clear vision was executed by her authentically strong, grounded technical style that when performed by her dancers, especially, will blow you away. Her work always does that to me. And those creative lifts! WOW!

Matt Cady came next with a wonderfully clever trio between himself and two ladies all dressed in gowns. This character piece was hysterical and brought the audience to laughter on numerous occasions. The threesome were great actors too. The piece found them mocking the high-life, each other, and even dance.

Amanda Leise’s tap piece was up next and this performance truly garnered the most applause of the night. She was joined by two men and a lady, and this quartet performed brilliantly. The difficulty and intricacies of Leise’s work were met with ease and confidence between the performers. They were having one big party and we were all invited!

Tony Testa followed with a moving piece that spoke about growing up, but keeping your youthful nature alive, no matter the age. This piece was danced by a young child, Tony himself and an elderly gentleman, all portraying the same person through the years. Testa told a beautifully theatrical story utilizing an army theme. The older gentleman was incredibly inspiring.

Lastly, Dee Caspary presented a trio danced by Chaz Buzan, Channing Cooke and Ashley Galvan. Caspary’s work mesmerizes me. The way his unique movement flows seamlessly with his staging is quite brilliant and never ceases to amaze. This piece had a lovely breath of simplicity to it and brought the piano to life.

Peter Chu presents The ChuThis Group – Nothing Sticks

By Alex Little

Where do I start? What words can describe the experience accurately? I will do my best to recap the evening I spent taking in the phenomenal “Nothing Sticks”. Peter Chu is one brilliant man, dancer, visionary, director, choreographer, artist and teacher. But many of you already know that. He designed a show that brought together every element of the theater onto one stage.

In 90 minutes we were taken through a story of resistance and change. Chu designed a show with a company of seven dancers on what looked like an old movie style set, utilizing live projections of various stick figures throughout the evening, and at one point a projection of himself dancing (that he accompanied dancing live, creating a duet). He incorporated two huge movie-set lights on the stage, manipulated by the dancers, as well as a chalkboard used at one point to play hang-man with the audience. Chu, the narrator of the story, wore a top hat and carried his umbrella, like a cane, which was later seen in giant form, as the dancers used it to create a hook effect to pull one another off stage. Such great visuals!

The plethora of movement styles brought into “Nothing Sticks” was remarkable. Gorgeously constructed contemporary pieces with signature Chu movement were woven into the story by way of solos, duets, trios and harmonious group work of intricate and technical movements, gestures, expression, imaginative partnering, innovative floor work and sublime pantomiming. The dancers were elegant athletes as they contoured the space with refined grace, technique and performance.  Chu’s choreography is aesthetically pleasing, yet undeniably difficult in nature.

Chu blended his contemporary style with vaudevillian and Broadway- inspired pieces, transitions and even acting and speaking parts, where the 4th wall was broken to include comedic breaks in the show, such as the aforementioned hangman game played with the audience! Such fun and laughter ensued. This led into a gorgeous duet against the chalkboard performed by Rebecca Niziol and Matthew Peacock, where lines kept being erased by Niziol and redrawn by Peacock.

Other notable performances were Steven Hernandez’s solo to “Dream a Little Dream” and Chu and Hernandez’s duet, which was probably my favorite piece of the evening. Matthew Peacock was incredible as he opened the show with a solo that brought us right into Chu’s world. Jillian Chu’s interactions with Peter Chu in explaining that it is “OK to erase and start again” melted my heart. For as the story told, change, is inevitable. I can only hope this show continues to run so everyone can have a chance to be in the audience.

Terry Beeham presents Mental Head Circus

By Deborah Searle

We walked into the dark Forum Theatre where we were immediately greeted by artists hanging from the ceiling moving eerily, yet beautifully in the air. Within seconds it was clear that Mental Head Circus are a talented aerial troupe, who are as much athletes as artists.

We enjoyed just a snippet of what the company can really do, and I was left wanting to see more. A beautiful aerial rope piece had one dancer creating exquisite lines at the back of the stage with death defying drops from the ceiling. The movement created by the dancer and her bright red dress memorized the audience.

The dancers showed both grace and enviable flexibility throughout the display. They are truly gifted, and incredibly strong! Their character portrayal and performance technique drews us in and keep us on edge.

Terry Beeman stunned us with a theatrical dance around and inside a cube. His contortions and balances were mind-numbing. I was shocked to discover after the performance that he is in fact in his 40s, as on stage he shows the agility and athleticism of a teenager. He truly defies nature!

Beats Per Minute

By Deborah Searle

What a fun performance! Beats Per Minute had us all toe tapping in our seats. Created by Glyn Gray and Nathan Sheens, Beats Per Minute is a tap and music performance, where the tappers set the beat and become instruments, jamming with a live band.

Three talented tappers; Glyn Gray, Brin Hamblin and Chris Rutledge, created a light hearted and entertaining show, accompanied by a guitarist, bass player, drummer and vocalist. Gray is a consummate performer and a definite crowd pleaser. His concept for Beats Per Minute, was simple, yet brilliant – create music with the feet as well as the band.

Vocalist Lindsay Hough had a strong, jazz flavored voice that was appreciated by all. She sang a theme song to ‘Beats Per Minute’ that could have come across corny, but was actually quite catchy and fun. She is a talented artist.

Chris Rutledge was a very capable tapper and I enjoyed watching him ‘bust his moves’ and play off the other two performers and musicians.

Beats Per Minute could entertain even a non-dance audience. The performance was laid back and created a casual atmosphere in the theater. I can see this show being a hit on stage, as well as on the streets. It would draw a huge, excited crowd of both lovers of dance and music.

The Animals Come Out at Night

West End Theatre, NYC
May 20

By Laura Di Ori.

Sitting in New York’s dome-shaped West End Theatre before Rebecca Stenn’s Fantasy, Lies, Hubris and Voyeurism, you can’t help but take in the space and wonder how all its elements will come together – the bare stage and exposed back wall, the nearly camouflaged piano and the laptops and music equipment in the balcony box above. What appears at first glance to be simple, is still hidden but planned, and representative of the still of the night and the mysteries that darkness seems to hold.

The piece opens with Stenn’s stillness as though we’re looking on in some far-off pasture at dusk. Benton Bainbridge’s video projections of clouds move across the back wall. Stenn is joined by three other characters – Eric Jackson Bradley, Trebien Pollard and John Mario Sevilla – who, all clad in pedestrian clothes, circle her. Stenn breaks the pedestrian feel in what comes as almost a relief. Stenn, a former member of Momix for several years, moves with incredible softness in her upper body that rests so well against Alice Hwang’s live piano accompaniment of Chopin’s Nocturnes. Her movement with Charlie Chaplin footwork and bird-like wafting arms is animalistic, as Stenn as the first creature of the night plays alone in the quiet.

Two characters leave the stage, and as darkness prepares to fall overhead, only Pollard remains, left unaffected by Stenn’s curiosity of him. Then we begin to wonder, who are these figures? As we begin to wonder who they are, we begin to care for them. Are they happy? Are they lonely?

Throughout the entirety of Stenn’s Fantasy, her most recent work, we try to understand these characters. Although we may not find out who they are or where they’re going we are made to feel close to the characters. This is through the space’s intimate setting, the relatable quality of their movement (the choreography is infused by things we all know like running, yoga, stretching, walking and movement that resembles the animal impersonations we do as kids), and their interaction with one another. Whoever or whatever they are, we’re concerned for them.

The relation between all the characters is a common thread throughout the whole piece. The partnering sequences are particularly memorable, well-produced and executed. I wanted a ball-of-the-foot swivel partnered turn between Stenn and Pollard to go on forever.

The next several scenes all incorporate more environmental projections as the backdrop – the evening sky, a brick wall, snowy field, even a car on the freeway (the only sign of modern civilization we see), accompanied sometimes with Hwang’s Chopin music, sometimes silence, and sometimes the sound of the piano meshed with Jay Weissman’s modern electronic sounds. We see different combinations of the four characters move and frolic together. We can’t help but see them as animals and as creatures of the night with Stenn’s bird-like arms, Bradley’s moments of nonstop hopping and Sevilla falling over sideways as though he’s fallen asleep on his perch.

There is primitive nature in us all. There is a fascination with another being, but also a selfish desire to survive and succeed. These characters all interact with one another at some point, but in the end, one by one, they leave until only Stenn is left onstage. The work discusses the balance of relying on others but needing to be one’s own rock, of making your way through all of life’s distractions and all of the things and people in your path. We can long and hope, but we can’t always depend. Sometimes in the end we only have ourselves.

Cobb Energy Performing Arts Center
Feb 11 2011

By Deborah Searle

The Sleeping Beauty was a magical night of classical ballet with all the bells and whistles. The sets were exquisite, the costumes ornate and the storyline was, as you’d expect, a fairytale of dreams and happy endings.

I have seen the Atlanta Ballet perform on several occasions, but for me, this was their best performance yet. Danced to Tchaikovsky’s enchanting score played beautifully by the Atlanta Ballet Orchestra, the dancers were light on their feet, assured and adept.

The choreography, originally by Marius Petipa, was adapted and staged by John McFall for this performance of the ballet classic. McFall’s rendition was delightful. He stayed true to the story and brought its magic into the audience where our eyes lit up and our hearts tingled.

Photos by Charlie McCullers, Courtesy of Atlanta Ballet

The stand out performers were Tara Lee as ‘Carabosse’, Nadia Mara as ‘Princess Florine’ and Jared Tan as ‘Blue Bird’. Lee played the evil ‘Carabosse’ with the perfect blend of dynamics and elegance. Her technique was flawless and her character portrayal was very convincing. The pas de deux by Princess Florine and Blue Bird was executed with brilliance. Well cast for the role, Tan as Blue Bird showcased his amazing ballon. His extension is impressive and he is a true performer.

Kristine Necessary as Princess Aurora was captivating. At first I wasn’t convinced with her performance, which was probably due to a few opening night nerves, but as the ballet progressed she won me over and brought me into her magic. Her extension in jeté seemed to lack, but in all other areas she was strong and flexible, yet graceful.

The entire cast were skilled and committed and they brought magic to the theater.  At times there were definite stand outs. Several dancers outshone their peers onstage, whether by their performance level or display of crisp technique, but all in all the dancers were well trained and talented.

The lighting, smoke and transparent screens brought the fairytale to life, and were very impressive. The lighting and set design must be applauded, as they took the ballet from delightful to a magical masterpiece. Notably the effects used for Caraboose’s exit were thrilling for the audience, especially the youngsters.

The Sleeping Beauty is such a fun ballet, as well as whimsical and charming. With characters such as Puss’n boots, Red Riding Hood and the Wolf, there is something for audience members young and old. The theatre was filled with little girls and their mothers, as well as little girls at heart, and the performance was well enjoyed by all.

From Samuel Barber to Lionel Richie

Joyce Theatre, NYC
Tuesday Feb 1

By David Rossetti

Looking to escape the bitter cold that is enveloping New York these days?
Well, Parsons Dance and its company of inexhaustible artists are heating up the night with world premieres, old classics and an amusing and touching piece by guest choreographer Monica Bill Barnes. The evening of dance showcases David Parsons choreography “through the years” (which, incidentally, is one of several Lionel Richie songs used by the guest choreographer) and displays the strength, ingenuity and energy that has made this man a staple in contemporary dance.

Program B opens with Parson’s 1993 piece Bachiana. Though not my favorite piece of the night, it was an energetic and whimsical start to the evening with lovely duets, synchronized arm movements and beautiful stage pictures utilizing the full company.

I was literally on the edge of my seat for the next piece, the world premiere of Portinari, which featured the emotionally-drenched “Adagio for Strings” by Samuel Barber (one of my favorite pieces of music). Inspired by Brazilian painter and muralist Candido Portinari, Miguel Quinones and Sarah Braverman gave incredible performances, though I felt the choreography fought against the music. I understand him not choreographing exactly to every beat and swell of the music, but Barber’s “Adagio” is so well known that I would have liked the movement to have eventually given over to the sweeping and aching melodies, especially during the climactic held note.

Slow Dance, Sarah Braverman & Miguel Quinones, Elena D’Amario & Eric Bourne, Melissa Ullom & Steven Vaughn. Photos © B. Docktor

Slow Dance, a Parsons favorite from 2003, was up next and featured three couples doing some visually stunning lifts and creating beautiful geometric shapes that looked like a contemporary dance postcard. The impressive partnering, body movements and togetherness brought feelings of relationships, the passing of time and the falling and flailing that can happen in life. The most striking moment was the percussive puffs of frantic breath as the movement surged to its frenzied conclusion. 

Love, Oh Love, a quirky piece by guest choreographer Monica Bill Barnes, featured the smooth sounds of Lionel Richie’s “Truly,” “Through the Years,” and “Endless Love.” The dancers were dressed as if at a wedding reception, but as the dance began we knew something was special about this group of partiers. When the party guests began amusingly picking up body parts off the floor, you then saw them as a group of seniors trying to ‘boogie down’ without breaking apart. What started off as a comic piece about growing old gave way to a poignant tale of two people navigating through life after “love at first sight”. Steven Vaughn and the incredibly expressive Miguel Quinones each had their own set of backup dancers to support them through the clumsiness, the fear, the caution and the mystery of courtship. The humor and tenderness used in the storytelling, along with clever ode to the wedding line-dances we all love to hate, made this piece unforgettable and an audience favorite.

I found myself once again on the edge of my seat for Caught. I had heard so much buzz about this piece, but nothing could have prepared me for what transpired. Miguel Quinones, who should receive top billing, exuded strength and sexuality while creating visuals that have been permanently burned into my brain. I watched most of the piece with my mouth agape having no idea what was happening. My brain couldn’t seem to fully comprehend what my eyes were taking in.  Was this man actually flying? I loved every second of it. It is no wonder this magical piece still holds up three decades after its creation.

The effervescent Nascimento ended the evening and brought the entire company back together. The music by Milton Nascimento provided a bouncy and life-loving beat that was evident in every leap and frolic. I felt like I was watching people on an island, possibly a tribe, interacting, playing, running on the beach and dancing. Though at first jealous of seeing these obviously warm individuals dancing in the sunlight (as another storm was approaching the city), I was eventually taken over by the infectious drums and guttural vocals that kept this piece moving, and the audience smiling.

A spectacular variety of strength, passion, art, laughter and love, Parsons Dance really brought the best of what they do to New York. I think Samuel Barber, and yes, even Lionel Richie would be proud. 

Top photo:  Parsons Dance 2011 Joyce – Bachiana
Eric Bourne, Steven Vaughn, Miguel Quinones
Photos © B. Docktor

Creative careers in dance related industries

By Emily Yewell Volin.

Most dancers aspire for professional performance work and many will achieve this goal but the fact remains that a dancer’s prime performance years are limited, if ever realized. However, if dance is a person’s passion, an evolving career within the field translates to immense job satisfaction for many transitioning artists. The analytical skills, perseverance and discipline learned through the study of dance are well known to help individuals recognize and commit to virtually any aspiration. With a little creativity and an open mind, a dance artist can produce and enjoy a lifetime of work in the field long after leaving the stage. 

I’ve contacted many dancers and collected their stories of dance life beyond the stage for this new series of articles. The resulting interviews are both informative and inspiring. Enjoy.

Founder of a Dance Company
Jon Lehrer, Founder/Artistic Director LehrerDance,
www.lehrerdance.org

Jon Lehrer holds a BFA in Dance from University at Buffalo and was a company member with Giordano Jazz Dance Chicago for ten years, including two years as Rehearsal Director and five years as Associate Director. Jon Lehrer also danced with Erick Hawkins Dance Company, John Passafiume Dancers, Merv Griffin’s “Funderful” in Atlantic City and with the Radio City Rockette Christmas Spectacular.

Jon Lehrer working Rachael Humphrey, Immanuel Naylor and Phil Wackerfuss of LehrerDance company. Photo Jim Bush

“When I was performing and teaching I treated my career as if I was an entrepreneur. I always knew I wanted my own concert dance company, so when I was teaching I was honing my communication as well as artistic skills and when I was performing I was always cognizant of what worked choreographically and what did not.

Because I had a very diverse career (going from the classic modern of Erick Hawkins to Giordano) I was able to pull positive experiences from both into starting my company. Being exposed to these two very different styles and approaches allowed me to become very diverse in my choreography and teaching.

Simply put – I would advise you to treat your dance career as if it were a business you owned. Be an entrepreneur where the product you sell is yourself. Every person you meet and every experience you have as a dancer can directly benefit your future beyond the stage. I have met many dancers who just go about their routine without maximizing their experiences. I tell all my company members to remember the ABC of career longevity – Always Be Cognizant. You must be aware of everything going on around you in order to properly utilize those experiences to your benefit.”

Director Performing Arts High School Dance Division
Denise Reeves, Director of the Dance Division at the Cobb County Center for Excellence in the Performing Arts, GA
www.cccepa.com/dance.htm

Denise Reeves has a Bachelor’s Degree in Dance Education from the University of North Carolina and a Master of Education specializing in dance from Frostburg State University. Her teaching is derived from being a certified Royal Academy of Dance  teacher with intense training in the Cecchetti and  Vaganova methods.. She is the former Pilates director and is presently the Dance Coordinator of the Cobb County Center for Excellence in the Performing Arts, Pebblebrook High School.

“Dancers have so many opportunities to network by using their talents beyond the stage. They may possibly need to make connections by volunteering their time and work to get established and to demonstrate their skills to others so that their talents can be integrated  within an organization.  It is good to get involved with several organizations so that you get a wide perspective of the dance scene in their area. Dancers can discover aspects of the performing arts that they love and can pursue them with the same passion that they had when they were dancing.

While I was dancing, I had no idea that I was learning so many useful skills for my future beyond performing. A strong work ethic and discipline come with being a dancer. Injury prevention, photography, costuming, and working with technology issues (including obtaining music, recording music, lighting), etc. help in so many ways beyond the stage.

Dancing encourages a lot of self motivation to accomplish your goals. The motivation that drives performers carries over into the life of the dancer beyond the stage and throughout the rest of their life if they pursue other aspects of what they love.”

Writing for Dance
Cynthia Bond Perry, Dance Critic at ArtsCriticATL.com
M.F.A. Dance, University of Oklahoma
Instructor of Dance Kennesaw State University and Brenau University, GA
www.artscriticatl.com

Cynthia Bond Perry writes for the Atlanta arts website ArtsCriticATL and teaches dance at Brenau University and Kennesaw State University. Her articles and reviews have appeared in Dance Magazine, The Atlanta Journal-Constitution and many other publications.

Perry previously served as a full-time Lecturer in Modern Dance and Dance History at University of Oklahoma under the direction of Mary Margaret Holt. Perry received early training in Oklahoma City under Yvonne Chouteau, Conrad Ludlow and Joy Feldman and later studied dance composition with Harriette Ann Gray and Doris Rudko. Perry earned a BFA in dance from New York University Tisch School of the Arts, studying with Lawrence Rhodes, Kay Cummings, Linda Tarnay and others while performing in works by Rosalind Newman, David Gordon and Lorn MacDougal. Perry holds certification in Laban Movement Analysis, Pilates Mat and Zena Rommett Floor-Barre Technique®.

“When I write about dancers and choreographers, we have a special understanding because I’ve been there, too. I understand their intense joy and steely dedication. I know how much effort goes into a full-length production and what it’s like to tour. My ballet and modern dance training help me to understand technical standards, style and genre. My experience making dances and practicing Laban Movement Analysis help me determine how and why dances are constructed.

Academic credentials matter if you’re thinking of a career in dance history and criticism. See every dance performance you can, and write as much as you can. Seek mentors you respect. If asked to teach a dance related subject, such as history, music or anatomy – go ahead. Do the research and teach the course. Every ounce of knowledge you gain will serve you.”

Developing your passions within the field of dance is a lot about diversifying your potential and developing the practical application of your talents. May you find success and fulfillment beyond the stage.

Top photo: Jon Lehrer working with LehrerDance company members Kurt Adametz & Marideth Wanat. Photo Jim Bush