Ailey Citigroup Theater, The Joan Weill Center for Dance NYC
April 2012

By Deborah Searle

This April, Ailey II presented a mixed bill of modern and contemporary dance works for 11 nights at the Ailey Citigroup Theater. Audiences could choose from two programs, either Modern Moves or Contemporary Choices.  On the evening on April 19 we were treated to the contemporary program which featured three distinct works; The Corner (2010) by Kyle Abraham, The Legacy of Inheritance (2011) by Stefanie Batten Bland  and Shards (1988) by Donald Byrd. Each work was very different and showed the varying strengths of the company’s young dancers who are all students in Ailey’s professional dance courses.

The Corner surprised me as it had a strong street dance and hip hop flavor, as opposed to the modern dance usually displayed by Ailey dancers. It included spoken word, characterization and much fun and frivolity as the dancers became friends hanging out on what I envisioned as a street corner. It involved moments of humor, games and comradery as the dancers grooved in colorful, casual costumes. The soundtrack was a mixture of popular music and classical with funky, jazzy choreography and some slower, softer more lyrical moments.  An upbeat group number at the end was entertaining. The stand out dancer for this work was Elizabeth Washington who seemed to embody her own personal groove and really suited the choreography. The other dancers, although they all executed the steps well, didn’t always embody the theme and style as Washington did.

The Legacy of Inheritance which followed was starkly different from the first work. It was much more raw and contemporary. In the intermission we could see fog being dispersed across the stage as well as a huge piece of white, light material. This intrigued me, as I wondered how the dancers were going to work with such a huge prop. To begin, the cast of dancers picked up the white material and wrapped themselves up in it as they slowly swayed. It was eerie but intoxicating. Although the movements were simple, the manipulation of the cloth, the way the light hit it, and the dancers’ commitment to creating interesting shapes were rapturing.  A swimming-like scene where the dancers in lines seemed to swim on the ground in different directions was mesmerizing and unique partnering scenes involved inventive lifts and lines.  Stefanie Batten Bland’s work was very interesting and it showed the dancers’ technical strengths as well as their ability to work with what could have been an overpowering prop. I thoroughly enjoyed this work. Thomas Varvaro in his first season with Ailey II was delightful to watch. He finished every movement and danced with clarity and ease.

Lastly, Shards by Donald Byrd was different again. We were hooked from the first second as the company started in a group center stage, in the spotlight. With the dancers all in royal blue, the bright costumes coupled the bright choreography perfectly. At times the music was very dramatic and the dancing matched. The dancers were able to perform simple port de bra with such dynamics to fill out the strong music and keep us entertained.  The choreography was quite balletic and demanding. It involved much batterie, battements to second, penchée on relevé and some flinging but controlled movement.  A pas de deux by dancers Fana Tesfagiorgis and Colin Heyward showed Fana’s flexibility and strength. A solo by her later in the program cemented her as a stunning dancer.  Anne O’Donnell, in her first year with Ailey II, was stunning in this work. She has lovely lines and strong ballet training.

Contemporary Choices by Ailey II was a dynamic program that showed the young dancers’ versatility. It is wonderful to see these budding young stars have the opportunity to present such works to a large and appreciative audience.

Top photo: Fana Tesfagiorgis in Troy Powell’s Reference Point. Photo by Eduardo Patino, NYC.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

Joyce Theater, New York
March 16 2012

By Stephanie Wolf.

The crème de la crème of New York’s modern dance scene gathered on Friday night to pay tribute to one of modern dance’s most prominent figures as the Martha Graham Dance Company took center stage at the one and only Joyce Theater. It was an evening of drama and dancing, as only Graham herself could envision it. The performance acknowledged the company’s rich history, while welcoming its bright future.

Before the dancers entered the stage, the audience was treated to Beautiful Captives, a video montage by Peter Sparling. It was an endearing multimedia collage with snippets of Graham and cinematic dancing, which appropriately set the mood for the evening. The old-timey ambiance was then greatly juxtaposed by the primitive solo Witch Dance, featuring the choreography of another great modern dance pioneer – Mary Wigman.

Once the audience had fully digested these dancing ‘hors d’oeuvres’ the evening progressed into the more iconic work of the Graham Company, starting off with Graham’s 1939 exploration of a foolish woman’s psyche titled Every Soul is a Circus. Graham’s flair for over the top drama, complicated storylines, and intriguing costumes is not for everyone. And, perhaps, Every Soul is a Circus’s conceptual dialogue goes on a bit too long. But what Graham does show in these early works is how ahead of her time she was, as a choreographer and conversationalist. She tackled complicated storylines, which typically featured a female as the lead character, and created work that was truly original and forced her audience to think and feel.

From a woman’s muddled thoughts in the big ring, the evening took a darker turn with Lamentation Variations. The work is an inspired concept and proved to be a true testament to Graham’s significance in the future of modern dance. Based on Graham’s iconic solo Lamentations, the company commissioned seven current choreographers to create new “variations”. Friday night featured the variations of Azure Barton, Richard Move, and Lar Lubovitch. Each choreographer brought a new and stunning interpretation of Graham’s solo about a grieving woman.

It’s difficult to name a standout from the three because they all highlighted different aspects of the work. Barton created a moving duet for two ladies, which was danced sublimely by company members Miki Orihara and Mariya Daskina Maddux. She focused on the anguish, having the dancers use every fiber of their being to portray the grief. Move chose to keep the piece a solo and created an engaging number on Katherine Crockett – whose superhero strength and extensions hypnotized the audience, as she steadily made her way across the stage towards a bright light. Utilizing the entire company, Lubovitch’s rendition closed out the series of variations and played on Graham’s use of timing and unique costuming.

What better way to close out a night that pays homage to Graham, than featuring her 1947 Night Journey? The work highlights the infamous story of King Oedipus and his tragic prophecy. However, rather than focusing on Oedipus’s demise, Graham placed the emphasis of the ballet on his wife/mother/queen Jocasta; once again making the central figure a woman. Carrie Ellmore-Tallitsch was a wonderful Jocasta, embodying the drama in her every move and facial expression. And Blakeley White-McGuire led the Daughters of the Night with unrivaled strength and confidence. All the dancers performed exceptionally and Night Journey was a perfect representation of why Graham’s choreography and technique still has relevance in today’s society.

All and all, it was a great evening to be out and about, experiencing some of New York City’s finest in dance. Additionally, it’s reassuring to know that dancers, choreographers, and directors will never forget where they came from and who inspired them to pursue this difficult profession. But, at the same time, they all look towards the future of dance and greet its possibilities with open arms.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

Joyce Theater, New York
February 8-12, 2012

By Laura Di Orio.

During its New York debut, Cloud Gate 2, a Taiwanese modern dance company, presented at The Joyce an evening of five works by four choreographers and provided a glimpse into the emotional and physical range for which this company has the capacity.

The group, despite being called “number 2”, is not second to Cloud Gate Dance Theatre; rather, it is its own entity, one that prides itself on creating substantial works by a number of young Taiwanese choreographers. Both Cloud Gate and Cloud Gate 2 are directed by Lin Hwai-min, and while Cloud Gate performs mainly his works, Cloud Gate 2 is a springboard for newer creative voices, but is definitely just as strong.

During their four-performance run at The Joyce this February, the troupe seemed to fuse dance theater and pure dance phrases, along with interesting musical choices and standout lighting. Cloud Gate 2 seems to not be a company of hierarchy. Each dancer had his/her own individual voice, and the group as a whole was nothing less than connected.

The mixed program began with “Wicked Fish”, choreographed by Huang Yi, who also danced in the piece. It opened with a string of dancers across the stage, with overhead lights casting down on the dancers, dressed in blues and grays, and shrill music that at first seemed obtrusive. Within just a few moments it was apparent that these dancers were extremely well-rehearsed – their movements so in sync and their bodies moving in a most aesthetically-pleasing wave.

Cloud Gate 2 in Huang Yi's "Ta-Ta For Now". Photo: Liu Chen-hsiang

At one moment, only knobby body parts like elbows and knees could be seen under the lights. At the next, the group moved in canon and in slow motion, and then they’d quickly rewind. A series of duets – boy and girl, boy and boy, girl and girl – graced the stage. The couples’ bodies seemed to never depart contact through the slides and around-the-body lifts. The dancers were so athletic, so committed, but the best part of “Wicked Fish” was that the movement was so beautiful and fluid that we almost forgot about how piercing the music was overhead.

Next was Wu Kuo-chu’s “Tantalus”, which opened with six dancers in pedestrian clothes standing hunched over, eyes out to the audience under a square of light. They remained still for a long, long moment. Then one dancer stirred, out of discomfort, and then the whole group was awoken. One by one, an individual’s movement became contagious through the group, which was only brought back to neutral with long, loud breath patterns.

After several minutes of only sounds of claps, breaths, sighs and foot stomps, we welcomed the music of Meredith Monk, a storyteller herself. The piece became funny and human in that we recognized that we, as people, exhaust ourselves, constantly running and not getting far enough or even fighting with the air.

“Passage”, choreographed by Bulareyaung Pagarlava, pinnacled the evening in showcasing Cloud Gate 2 as a group with a strong dance theater element. A pretty girl was unwillingly clothed in different dresses and fabrics by four characters who seemed to be her caregivers. The girl was distracted, seemingly possessed, longing for something beyond her room. Meanwhile, a strong presence – a figure covered from head to toe in white – slowly strode around the scene, as he carried a large umbrella and wheeled a black suitcase beside him.

One by one, each character stripped off their black coat and danced in a powerful fit, as if they, too, had become possessed. Towards the end, clouds of white powder were thrown to the sky, creating a most strikingly beautiful image, and the dancers lay under a white sheet, where the girl had preceded them.

In Huang Yi’s second piece on the program, the quirky “Ta-Ta For Now”, was like a day at the office without the boss. The dancers, wearing office clothes, spun on, climbed over and stacked desk chairs. They interacted with each other, passing along imaginary objects, making finger people and even throwing their shoes. Despite its apparent light feel, the piece involved such incredible precision. There were times of amazing body response to the music as the tale was told via the violin in Aram Khachaturian’s Violin Concerto in D minor.

Cheng Tsung-lung’s “The Wall” closed the program. The dancers, all in black, began by walking the perimeter of the stage, creating some kind of wall, encasing themselves in a world of their own. Again, one by one, the dancers broke the mold, stripped their black and burst into their dance, nearly naked but so sure of their decision.

“The Wall” displayed the company as incredible movers, and some of Tsung-lung’s phrases appeared to have the feel of hip hop’s body isolations. At the end, one figure, who remained in black, walked into the field of what may have been mistaken as “chaos” but was surely just the temptation of the freedom of dance. Will he, too, be tempted?

During much of the evening, it was sometimes hard to tell the dancers apart. Aside from the choreographed moments of staring out into the house, their dancing was so internal as a whole, as if they were one body, each dancer just a different limb and one expression of a larger voice. And their bows were so gracious, their eyes almost in awestruck of what sat before them.

Cloud Gate 2’s engagement at The Joyce was one of such interesting, engaging work. It wasn’t dance for the sake of dance; rather, it was movement for the sake of saying something, and each of these young artists seems to have something profound to say.

Top photo: Cloud Gate 2 in Bulareyaung Pagarlava’s “Passage”. Photo by Liu Chen-hsiang

Published by Dance Informa dance magazine – dance news, dance auditions & events.

By Emily Yewell Volin.

George Staib, Artistic Director of Staibdance, has been a player in the Atlanta dance scene for many years.  Dance Informa sat down with George and Staibdance Managing Director Kathleen Wessel to hear what makes Staibdance unique among Atlanta’s many contemporary modern dance companies.

From February 2^nd-4^th Staibdance will perform Name Day, presented by Emory University Dance. Name Day is inspired by George’s childhood experiences living in Iran and the identity he developed with Iranian, Armenian, and American cultures.  During the Spring 2011 semester George studied with the famous Batsheva company in Tel Aviv and says he and his work were transformed during that time. George shares, “It hit me over the head when I was in Israel. I realized a kinship with an Armenian guy in Israel”. George felt at home and ‘indigenous’ with the culture in which he was immersed.  “For so long when people asked, ‘Where are you from?’ George would answer ‘Pennsylvania’,” says Kathleen.  “I think part of this is because growing up in PA, he was very much made to feel like an outsider and was teased mercilessly for being Middle Eastern. After finally feeling validated in Israel, he came back a changed person and now embraces his cultural roots.” She adds that as an artist, and as George’s spouse, the “shift makes me happy”.

Staibdance presents 'Name Day'. Photo Dustin Chambers

The transformation was personal and artistic.  Before working with the Batsheva company George rarely incorporated improvisation into his creative process.  After being immersed for five weeks in the highly structured Batsheva process for improvisation George admits to being “a totally different dancer with a totally different perspective”.  You can learn more about George’s reflections by visiting the blog he kept during his studies in Tel Aviv – http://movingtowardshome.wordpress.com/

While watching dance in Israel George discerned that “American [choreographers] are using dance to decorate their text.  It’s more about what I’m hearing than what I’m seeing and feeling about the dancers.  In Israel the text was little punctuation marks in the work.  Every [performance] I saw was in Hebrew and I had no idea what was being said though I had my own interpretation.  So often [American choreographers] have to be right and people have to ‘get it’ or we go so obscure that you don’t even want the audience to be with you”.

George, in his uniquely genuine and funny manner, declares that before his trip to Israel he had started to think of his work as “Beef Wellington – a classic dish that nobody eats anymore.  I was doing something that people had already seen.  What I’m working towards now is finding work that is not so political, that is more sociological, and personal.”  He strives to create “something that can be sticky, leaving something on your hands, but you can enjoy it too.  I want people to come away with a feeling and a connection, feeling something but not a political agenda.  It’s the human element.” George’s process and work have grown as a result of his reflections.  He says, “now I have permission to do my work, to go with my gut and not make work through the eyes of the Atlanta dance community”.

Name Day promises to be “a highly physical and theatrical jaunt through a much misunderstood part of the world”. Tickets for Name Day are available through www.dance.emory.edu.

The 3^rd Staibdance Summer Intensive will be held this June 30-July 15 in Sorrento, Italy and registrants can expect “lots of individual attention in a very safe and international program”, says George. “It’s an intimate setting. They step off the plane and there’s a Staibdance sign.  From there they are not treated as tourists but are immersed in the culture as contributing artists.”

Photo by Dustin Chambers

Tuition covers all classes, meals, and excursions and an exciting addition to this year’s class schedule is Gaga classes, which will be taught by a member of the Batsheva Company.  Dancers will also train in ballet, yoga, modern, and a blend of conditioning and Pilates.

“Classes are intense”, adds Wessel.  “Everybody sees what kind of dancer you are and there are a lot of individual comments and attention.  The ‘why’ is explored very deliberately. During the last couple of days we talk about what each dancer is working on and thinking about as a result of the two weeks.  Every dancer gets support.  It’s your time to work without worry about side jobs.  For two weeks this dancing is your job.”  Staib elaborates, “It’s such a gorgeous place right along the Amalfi Coast and for two weeks this is real life.  It’s so satisfying.  It’s also exciting to have new bodies from so many places. It’s a new challenge teaching wise.  We keep class sizes small and that, combined with good energy, makes us able to make shifts in scheduling according to the dynamics of the group.”

The Staibdance Summer Intensive also incorporates a culminating contemporary modern dance performance opportunity for all registrants.  This rare performance opportunity is made even sweeter by the fact that it takes place in Sorrento’s beautiful Parco Ibsen Amphitheater.  “We were brought to Sorrento to expose modern dance to an area of Italy that hasn’t seen this type of dance.  This free public concert is a gift back to the city”, explains Staib.  Performance pieces for the concert will stem from Staibdance’s repertoire and, for the first time this year, a piece created during the Intensive.

The ideal candidate for the Staibdance Summer Intensive is a dancer of any age over 18 who has dance experience of at least the intermediate level and who is open to learning about new cultures, taking risks and meeting new people.  For more information visit http://sites.google.com/site/staibdance/

Top photo by Dustin Chambers

The School of Visual, Media and Performing Arts at Brooklyn College is partnering with the Martha Graham Dance Company to offer two unique and intensive classes at the Brooklyn College campus in Flatbush, New York, January 9-26, 2012.
 
The two classes, ‘Technique’ and ‘Composition,’ will give undergraduate students of Brooklyn College and other institutions an opportunity to immerse themselves in the dance technique of the legendary Martha Graham. Each of the classes will accrue three credits. Faculty from the Martha Graham School of Contemporary Dance will work alongside guest artists to introduce students to the basics of the Graham technique and how to construct a dance.
 
The technique class runs Mondays through Fridays, 9 a.m.-noon. The composition class runs Mondays through Fridays, 2 pm-5 pm. These two winter intensives are specifically designed for students who wish to progress rapidly in the Graham technique. Classes may be taken concurrently or separately. Registration is open to undergraduate students from Brooklyn College and other colleges and universities.
 
The Martha Graham Dance Company, which will be practicing for its next tour at Brooklyn College’s Walt Whitman Auditorium during the week of January 23, has agreed to open its rehearsals to students every day that week. The general public will also have an opportunity to attend rehearsals on Tuesday, January 24, from 2 pm to 3:30 pm and on Wednesday, January 25, from 10:30 am- noon.
 
For tuition information or to register, students can visit www.brooklyn.cuny.edu or call 718-951-3180.

Compiled by Tara Sheena. 

As the twenty-first century wages on and time travels further and further away from our modern dance ancestors, there is an ever-growing debate on the preservation of these dance forms. What do they mean? How are they defined? Where is the future headed? By no means are these simple questions, but they do bring up some important talking points. I, too, am guilty of throwing around terms – contemporary, neo-modern, post-postmodern – that I am not sure I understand myself, let alone attempt to define modern dance with any level of the justice it deserves. In my endless quest to enrich my understanding of this art through others’ ideas and opinions, I assembled the thoughts of some remarkable movers, creators, and thinkers to offer up their thoughts on this conversation.

“I see modern dance continuing to build upon a codified set of principles that have been bred deeply into our work – a base to launch from. Appropriation is inevitable, but should be hailed as a pathway to new ideas and use of movement. We take what we know and add what we don’t know, and what results is always different, especially as we (a dynamic society) continue to change. It is certain we will always remember our past, those who come before us educate us to make sure of it, but natural curiosity, as well as new sets of customs, principles, and socialized ‘truths’ will keep us on a path of new development. I use both ‘Modern’ and ‘Contemporary’ to describe the work I do. I place my dancing on a firm grip and understanding of tradition, and how it has informed my character. I work under the ‘modern dance’ umbrella. I also believe that the work I engage in is constantly and consistently affected by the present, and it’s interaction with past and future unknowns. In this way, the resulting explorations are a contemporary view on codified modern traditions. I think ‘contemporary’ is a generalized term that can be used to place a temporary marker on work that is currently being explored, and has yet to pass. Especially, if we do not yet know how to define what we are creating. I will let the guy who writes the history book name this coming era of dance. He is the one who defines what is remembered anyway, for better or worse.”

Derek Crescenti
Dancer, Spectrum Dance Theater (Seattle, WA)  

“I often describe the work I do as contemporary dance or contemporary performance mostly because other artists I identify with also use the terminology. However, I find that terming in general is problematic because it can often build expectations for what work should or should not be. I’m not interested in coining such a term, but would rather make dance and performance work that relates to issues and interests at-hand. I think that the next era of dance can only be termed after the fact by those who observe artistic movements. These days contemporary dance practices are so disparate and diverse, and include artists working in related forms all around the world, that we cannot create a clear unified alignment in one movement or trend.”

Milka Djordjevich
Artist/Co-Editor, Critical Correspondence via Movement Research (NYC/San Francisco, CA)

Amy Chavasse

“Yes—I use the adjective contemporary to describe my work. But I dream and long for movement that transcends categories, as in: movement that bruises fruit. Movement that capsizes the boat. Movement that you wish you could forget. Movement that belongs on TV. Movement that beckons. Movement that melts ice. Movement that corrals the wild ponies. Movement that answers the question, ‘how do we behave in our longing’ [Pina Bausch]. If we know the answers to any of these questions, will it change anything? How will it matter in our art making? Maybe it will help find words and definitions when discussing or writing about movement, but for me these categories seem outdated. That said, according to the dance history I was taught and what I mostly hear and read now, I came from modern dance, but left most of the heroics associated with it behind. I use the word contemporary since that means, to me, what is happening now. I prefer definitions that get at other specifics—like movement that is in response to a very specific circumstance, or counter-intuitively, is in contrast to a specific circumstance.”

Amy Chavasse  
Associate Professor of Dance, University of Michigan
Director, ChavasseDance&Performance (NYC/Ann Arbor, MI)

“When discussing work within the dance community, among friends and colleagues, if not presenters, curators, directors and studio owners, I note our preference to reach for contemporary, as if a mustiness has shrouded modern dance and consigned the form to a relic of the 20^th Century.  Nothing sounds more unmodern than to utter, ‘I’m a modern dancer’.  How often do we say that building is so modern, that dress is modern, she’s a modern woman?  Been there, done that.  Modern has paradoxically become traditional.  Modern is Martha, Paul, Jose, and Alvin…We are all hybrids of hybrids.  There aren’t too many of us working with a pure strain, except for the keepers of the old flames and they are becoming extinguished.  Thus it is understandable the penchant for contemporary.  We want to distance ourselves from tradition, to keep a pioneering edge, to crack open what has come before.  But should we all run away from modern?  Things would be simpler if we could re-modernize the modern movement…I envision a future where bite-size dances, like the standard three-minute pop song, are traded back and forth on iTunes and texted from one’s phone to another.  In this future I envision The New York Times Bestseller lists containing the top ten downloaded dances of the week, including…well, I won’t name names.  I’m over them at this point too.”

Daniel Gwirtzman
Director, Daniel Gwirtzman Dance Company (NYC)  

Top photo: Derek Crescenti. Photo by Brandon Rosen

By Emily Yewell Volin

Pioneer, collaborator, visionary; these are just some of the terms aptly used to reference the life and work of the great Martha Graham (1894-1991).  Martha’s namesake company, founded by Graham in 1926 and currently under the artistic direction of Janet Eilber, celebrated Graham’s life and work with 85^th anniversary performances on March 15-20 at the Rose Theater in New York.

I had the pleasure of speaking with Katherine Crockett, a principal dancer with the Martha Graham Company since 1996 and a company member since 1993, as she took a rehearsal break on the eve of the Company’s opening Gala of their New York engagement. We spoke of many things, beginning with her first experiences in the Graham style. “I was about 16 years old when I first experienced Graham work and I fell immediately in love with it.  I felt this premonition of a woman and found within me a primal energy; an emotional and physical truth. I felt like when I came across Martha’s work it was the beginning of an incredible journey that I still continue.  And, as Martha danced into her 70s, her creativity continued to blossom.  Even though her body could no longer express, she projected that creativity out of other bodies; it was a necessity for her.  I find her long and prolific career enables women, requires women, to be more mature.  You can’t play these characters without a deep understanding of life”, she passionately shared.

Katherine Crockett Martha Graham’s Cave of the Heart Photograph © Albert Watson, 2010

Crockett quotes Martha as saying, “It takes 10 years to make a dancer; that’s 10 years of training.  It takes another 10 years to find the being you are”. To this Crockett adds that “spellbinding steps and virtuosity are only part; you must continue the exploration of the self in order to physically explore her work.  That’s why an audience member has such  visceral reactions to the Martha Graham repertoire – that visceral connection begins in the dancer.”

The Graham Company’s opening night performance featured the Snow on the Mesa, originally choreographed by Robert Wilson in 1995 after Martha Graham’s death, now reconstructed for the Company’s 85^th Anniversary performances. Wilson is quoted as calling Snow on the Mesa ‘a personal portrait of Martha Graham…evoking the creative journey of the artist…and the path that chose her, as Graham said’. Katherine Crockett was in the piece’s original cast and is now dancing the work again, though with 13 years more experience. She commented on how much she has grown during this time and how many components of Wilson’s work have also evolved or changed.  “Robert is a genius of a director and he helps the dancers find personal experiences so the piece relates to Martha’s life though our own lives. You see moments of struggle, anger, beauty, affection and quirky strange moments of duality (speaking of Graham’s dichotomous relationship between her passionate and Puritanical/Shaker sensibilities).

“Snow on the Mesa captures the formality and the incredible animal (of Graham) all of course with Robert Wilson’s aesthetic; which is phenomenal”, Crockett shared, fondly referencing Wilson’s direction for space, steps, and character as “jewels I preserve in my notebook.”

The 85^th anniversary performances are bursting with examples of Martha Graham’s legacy and we must all celebrate this hard earned milestone in the Company’s history.  However, we must note that the Graham Company is yet another arts organization in need of us extending support beyond our ticket purchases. I asked Katherine about ways in which people could facilitate the Martha Graham Company’s vision and she responded with, “write letters in support of the NEA to your congress people and make donations to the accredited and full time Graham school. The Graham Company needs your support.”  Crockett added, “think of ways to create together with the Martha Graham Company. Perhaps if someone in the fashion industry is interested in costuming for dance they could contact the Graham Company about a possible costuming internship. The Graham Company is an open and creative atmosphere. So many things are possible. We are not stuck in doing things our own way. We can create together!”

Katherine Crockett’s passion for the Martha Graham Company is perhaps best evidenced when she responded to my inquiry about her biggest hopes and dreams for the company within the next year. “The thing that would be wonderful is to be able to tour with our big sets.  If the Martha Graham Company was able to get a lump sum of money we could really travel with whatever sets we wanted and fully produce the pieces from our repertoire, including traveling with a large cast.  It would be really wonderful to tour our glorious works without a cut here and there.  And, my other big dream would be to dance with a live orchestra for every performance. I’d like to be able to tour with big sets, a full company, and live music”, she said.

Crockett’s dedication to the Graham Company’s welfare is testament to her understanding of its inherent relevance throughout 85 years of work.  The Martha Graham Dance Company is alive and well and Martha’s spirit lives on.

http://marthagraham.org/company/

Top photo: Blakeley White-McGuire in Cave of the Heart, photo Costas

Fox Theatre, Atlanta GA
Saturday Feb 12 2011

By Deborah Searle.

What a celebration of dance, history and faith! Alvin Ailey American Dance Theater brought joy, life and excitement to the streets of Atlanta with their 2011 tour performance.

With a rowdy and excitable audience, Alvin Ailey showed us what dance can and should be, to rapturous applause and a standing ovation.

The first Act was a new work for the company entitled Anointed. Choreographed by Christopher L Huggins just last year, the piece had a more contemporary dance feel than the traditional modern work that Ailey is so famous for.  The music was mesmerizing and the choreography was daring and expressive. Several lifts and jumps had the crowd clapping and cheering mid performance. Anointed felt like a fresh and modern day dance piece, an interpretation for 2011. It showed us what the future can hold for the company. The bright costumes were stunning and Olivia Bowman Jackson as the leading lady was exquisite. She was strong, committed, elegant and a brilliant technician. Anointed was my favorite piece for the evening, yet there were some synchronicity issues. The work may need a little more practice to achieve perfect timing between all performers.

Forgotten Time, by Judith Jamison, was next, and was a display of the dancers’ strength and agility. The piece had a tribal feel and the performers, all in skin tones with small colorful swirls and stripes, were committed and convincing. This was Alvin Ailey at its best. The work was captivating.

Revelations. Photo by Christopher Duggan.

After the second interval we were treated to a film celebrating the 50^th anniversary of Ailey’s famous Revelations.  With snippets of Ailey himself performing and comments from Ailey and current Artistic Director Judith Jamison, it was a rare insight into the man behind the company and his renowned Revelations. It was wonderful to see Ailey himself perform ‘Wading in the Water’ as his body rippled like waves.

To complete a wonderful evening the company then brought us Revelations, to cheers from the audience who clapped along and obviously enjoyed the performance.  Although such an old work now, the choreography is at most times very challenging and still exciting today. Revelations exhibits the training and strength of the company’s dancers,  as well as their energy and life. Briana Reed and Amos J. Machanic, Jr in ‘Fix Me Jesus’ were flawless and Clifton Brown in ‘I Wanna Be Ready’ showed us why he is a star. Revelations is such an important work for the company, in its message of faith, perseverance and deliverance and I felt privileged to share in its 50^th anniversary.

Alvin Ailey ADT left me inspired, full of joy and convinced of the power of dance.  All must share in the magic of Ailey!

Top photo: Linda Celeste Sims. Photo by Andrew Eccles

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