Review: Joffrey Ballet / Detroit Opera House / March 1& 2, 2014

By Julie Gervais

The Joffrey Ballet brought a perfectly-balanced program to the Detroit Opera House last weekend, March 1 & 2. It was an affirmation of what has always mattered about ballet, and a strong indicator of why ballet will continue to matter no matter how many people have tried to stick a fork in it.

Interplay / Joffrey Ballet Chor. Jerome Robbins

Interplay / Joffrey Ballet
Chor. Jerome Robbins

The freshness of Jerome Robbins 1945 Interplay is untarnished by the years, but is now a kind of period freshness. Time has not subtracted a single bit of fun from this work. Its construction is so careful that it creates the impression of carefree whimsical play, bubbling over with the exuberance of the (soon to be) post-war American spirit.  The group (8 dancers) engages in friendly competitions, starts chain reactions, tries to outdo themselves and each other. They might be on the brink of adulthood or maybe just shy of it – old enough to play at sexual innuendo yet young enough to not take it too seriously. There’s a fun time travel aspect, as occasional flashes appear of the iconic style and choreography that would eventually blossom into West Side Story, still 12 years in the future. There is abundant nostalgia these days for what some call the ‘pre-ironic age’. Whether that ever really existed or not, the piece is easy to love.

After The Rain / Joffrey Ballet. Chor. Christopher Wheeldon

After The Rain / Joffrey Ballet. Chor. Christopher Wheeldon

After The Rain, now one of Christopher Wheeldon’s worldwide signature works, is like one long breath. Its ability to capture and hold attention, using just the push and pull of emotional ties between two people, is a tribute to the power of dance. With his score, (Spiegel Im Spiegel, or Mirrors In The Mirror) Arvo Part proves that minimalist music can find a heart connection on what is, for most people, the first hearing. If perhaps Christine Rocas and Temur Suluashvili might have showed a bit more of the contrast between moments of closeness and moments of apart-ness, this was still a beautiful interpretation.

Son Of Chamber Symphony / Joffrey Ballet. Chor. Stanton Welch

Son Of Chamber Symphony / Joffrey Ballet.
Chor. Stanton Welch

The next piece was the blockbuster of the program. Stanton Welch’s Son Of Chamber Symphony is everything that is great about contemporary ballet. It opens against a projection of bold square architectural lines against low light. The ballerina’s saucer-style tutu, a creation made possible by 21st century fabric technology, holds its shape and flatters the leg line without the traditional frou-frou underlayers of supporting tulle and net. The men’s tunics honor and yet depart from tradition with a cutaway in the chest that reveals their – gasp! – chests. Anastacia Holden’s exquisite movement quality sets up the entire ballet – calm and confident, she owns it with a special fierceness that is often the claim of ballerinas whose proportions don’t necessarily reflect current ideals. The ballet takes on deconstruction of tradition as a sort of investigation. What if…we put ‘expected’ steps and shapes in a few unexpected places? Or unpacked the whole idea of a final climaxing pas de deux just to see what makes it tick, and whether it can tick differently? It’s fascinating and compelling and purposely funny at times, such as in the role-reversal promenade in which the ballerina in parallel bourree supported her man’s one-legged tour lente. Or when the principal ballerina makes her way slowly in a downstage diagonal through a sea of identically dressed women – latter-day shades or swans. It feels rich in imagery but austerely so, not opulent. Think Silicon Valley rather than Moscow. It is danced super clean and with an urgency that can give meaning to abstraction. It’s as though the dancers are hell-bent on sharing their acquired knowledge and insight into the music (John Adams’ work by the same name). This commitment to communicate is a key piece of the work’s success. There is much contemporary ballet that confuses an austere esthetic with emotional emptiness, or that fails to use movement to illuminate the music and the reason for the choreographer’s interest in it. Son Of Chamber Symphony is simply fabulous and deserves a long life on the stage.

Nine Sinatra Songs / Joffrey Ballet. Chor. Twyla Tharp

Nine Sinatra Songs / Joffrey Ballet. Chor. Twyla Tharp

Twyla Tharp’s crowd-pleasing Nine Sinatra Songs was the crowd-pleasing closer, a smart choice even though it’s not from her ‘best of’ collection. Some steps are re-used to the point of redundancy, some simply don’t work very well and the scale of it looked a little lonely on the DOH stage. But this 30-year old piece earns its place in permanent rotation through Tharp’s keen showmanship. Lucas Segovia deserves special mention for his comedy skills, hitting just the right notes to put a hilarious spin at just the right times. Everyone left with a song in their hearts.

 

Reviews: artLab J Dance Company 1st Annual Gala & Detroit Dance City Festival, Aug 22-25

artlabjRite

Thursday August 22

YMCA Boll Theater ‘Rite of Spring’ 

juliegervais

 

 

 

 

 

by Julie Gervais / Bio on DP writers page

Detroit Dance City Festival preceded Friday’s kickoff with a Gala Performance on Thursday night at the YMCA Boll Theatre.

Artistic Director and Choreographer Joori Jung showed beautiful work. Her ‘Rite’ is dramatically taut, well-paced, and powerful.

She begins, as many versions do, with the entrance of the Sage Elder (Harriet Berg, in a part tailor-made for her), who performs wordless ritual incantations heralding the arrival of spring. Five dancers frolic in engaging patterns that shift alliances – sometimes it’s male-female partnering, other times it’s men against the women – but their seasonal joy is never unalloyed, as they know that there will soon be a victim chosen among them, her fate sealed.

Amber Golden, The Chosen One. Shown with Alexander Dones (L), Sam Horning (R). Photo (c) Scott Lipiec

Amber Golden, The Chosen One. Shown with Alexander Dones (L), Sam Horning (R). Photo (c) Scott Lipiec

They do choose her (Amber Golden, who was eloquent), and they surround and trap her. The Elder re-appears and casts a sort of spell on the dancers, who enter a trance-like state (perfect for our current zombie-obsessed culture.)

This piece fit beautifully into the square black box space, and Ms. Jung has crafted movement patterns that are captivating and well-balanced. Sometimes there is unison, sometimes opposition, but throughout the dance it feels like the ‘right’ amount of movement. Her musicality is delightful; she doesn’t fight with the music or disdain it like so much contemporary choreography. There is a fountain in the downstage left corner, one of those plug-in types sold at big box stores. At first it seems gimmicky as a set piece, but as the dance goes on, it actually becomes poignant. Its consistent burbling, so pleasant and innocuous, stands in starker and starker contrast to the imminent violence.

The Chosen One, now in red and so clearly marked by the others, is a fighter. Time after time she exhausts herself in defiance of the fate the others have marked for her. There is some rough partnering; this is not a summer garden party but a ritual marking of the seasonal change that reflects the harshness of life.

Sam Horning, Amber Golden, Rachel Ahn Harbert, Marianne Brass, Alexander Dones. Photo (c) Scott Lipiec

Sam Horning, Amber Golden, Rachel Ahn Harbert, Marianne Brass, Alexander Dones. Photo (c) Scott Lipiec

The dancers in this piece are all excellent and are in great form after a summer full of rehearsals and classes. Their ensemble spirit is evident; they are a team and it shows. It has to be noted that their studio time, made possible by Joori Jung’s artLab J Studio, is a crucial addition to the ‘open’ dance scene in Detroit. Dancers need to work every day to develop and tune their instruments; it isn’t possible to create good work without a steady class & rehearsal schedule. For a city that has seemingly endless amounts of empty space, Detroit has been sorely lacking in suitable dance space and this is an important development.

Alexander Dones. Photo (c) Scott Lipiec

Alexander Dones. Photo (c) Scott Lipiec

The surprise ending of this ‘Rite’ shall not be spoiled here, in deference to its repeat showing on Sunday at 6pm, same location. Go and see it for yourself!

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Thursday August 22

YMCA Boll Theatre ‘Dream City’ 

juliegervais

 

 

 

By Julie Gervais / Bio on DP writers page

Chris Braz, Alexander Dones in 'Dream City'. Photo (c) Scott Lipiec

Chris Braz, Alexander Dones. Photo (c) Scott Lipiec

Premiered in the spring of 2013, this work is a heartfelt and incisive look at the trajectory of Detroit – the guts and the glory, the ups and the downs. It deserves to be seen throughout the city and should be shown at events that reach beyond existing dance audiences. It was choreographed by Joori Jung, Artistic Director of artLab J, on her Company dancers.

There is a strong history of art as social commentary in Detroit – the Diego Rivera industry fresco cycle, the Joe Louis fist, the Heidelberg Project. How can it not be important to the future of dance to include this kind of work in our repertories?

Additionally, I am a fan of relatively short narrative works such as Dream City (under an hour). Long enough to realize an arc, short enough to hold attention as long as the action is tightly managed. This dance has a bigger cast – two men and five women, who were a bit crowded in this space. The cast also features a ladder that serves almost as an additional character, moving around the stage (well, being moved by others) as a versatile prop helps to help illustrate a range of ideas – elevation, entrapment, desperation, jubilation, and isolation.

Ms. Jung uses a wide variety of music, starting off with some new age-y sounds, which I had trouble placing in a historical context (but maybe the narrative isn’t meant to be chronological?).

Chris Braz (center), getting a little lift from his Motown ladies. Photo (c) Scott Lipiec

Chris Braz (center), getting a little lift from his Motown ladies. Photo (c) Scott Lipiec

There is a Motown section – pure fun with laugh-out-loud moments; the dancers capture the elation of this period with authenticity. It must have felt like Detroit was at the center of the cultural world during this time.

Again in this piece, the artLab J Company is very good at shifting moods through modulations in movement quality. The neon tutus of Motown are followed quickly by a period of turbulence and turmoil. Everyone wears black costumes, torn up and distressed as the characters themselves seem to be – flinging themselves violently to the floor, fighting with each other, ganging up some against another. It’s upsetting, frankly – but so is life, sometimes.

It’s a sign of strength in her artistic vision that Ms. Jung does not shy away from the hard truths. Death does come, and with it comes a world of sorrow and regret. But humanity trends toward hope, for which the choreographer has devised a striking visual metaphor,  involving paint and skin tones and a vision for how much we have in common if we open up to putting ourselves inside someone else’s skin.

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Friday August 23: YMCA Boll Theater 6pm & 8pm Performances, August 23, 2013

Jenkoralewskiby Jen Koralewski

Jen Koralewski received her Bachelor of Arts degree in Dance from Point Park University in 2009, with a concentration in jazz.  While at Point Park Jen received many opportunities to choreograph works on the Conservatory’s great talent.  Jen was also given the privilege to perform in an original work by Ron Tassone and to work with instructors such as Kiesha Lalama-White, Susan Stowe, and Judith Leifer-Bentz.    In 2011 Jen founded and became the Artistic Director of Motor City Dance Extension, a classical jazz based dance company out of the River Raisin Centre for the Arts.  She currently holds a teaching residency as the River Raisin Dance Academy’s jazz and modern instructor along with, teaching in the Metro-Detroit Area and working on various projects in the community.  Jen is most grateful for her family and the ability to wakeup everyday and do what she loves, DANCE!

This weekend the dance “boomers” took over the city with a beautiful sampling of dance.  I had the opportunity to see both performances at the YMCA Boll Theater Friday night.  The audience was treated with works from New York, Chicago, Oregon, and Michigan.  I love that we were able to share the beautiful parts of our city with so many people.

The variety of places the dancers came from went hand in hand with the variety of dances that were performed.  We saw everything from creative movement, belly dancing, classical Dunham, contemporary ballet, and modern.  Each dancer brought to the stage a beautiful level of commitment for their craft.

The pieces were creatively put together to create two wonderful shows.  It’s safe to say if you weren’t downtown for any part of the Detroit Dance City Festival, you missed out.  The audience was personally invited by Joori Jung (Artistic Director, Art LabJ) to attend the after party and meet some of the artists that performed that night at the Start Gallery in downtown Detroit, MI after the show.

I have loved the opportunity to be a witness to the growth in our dance community.  Joori Jung’s vision for Detroit is nothing short of poetic.  The evening felt as if I was being invited home to a city I have been to many times but now am able to see in a different light.  Discovering these somewhat hidden treasure spaces within the cracked concrete leaves me with hope for our artistic future.  Building the arts community in Detroit will not be an easy but I’m ready to roll up my sleeves and get dirty with Joori and Art LabJ.

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Friday August 23 Boll YMCA 6pm & artLab J 7:30 Performances, Sunday August 25 Boll YMCA 6pm & 8pm Performances 

PamMcIntyreBy Pamela Edwards MacIntyre

Pamela has over 25 years experience in teaching ballet, Cecchetti, pointe, lyrical, jazz, tap and contemporary. Throughout her career, she has appeared in many dance and theater productions in the US and Canada  has worked and trained with artists from the National Ballet of Canada, the Royal Winnipeg Ballet, Sarasota Ballet, Quinte Ballet School, and Mariinsky (Kirov) as well as many professionals from the Tap, Jazz, Lyrical and Contemporary industry . Pamela has studied with the Imperial Society of Teachers of Dancing in London England and is currently active with the Cecchetti Council of America. Her strong belief in creating a positive and rewarding teaching environment, inspires her students to grow and develop as strong performers and dancers.  She is an award winning choreographer and coach and is known in the industry for growing technically strong dancers and inspiring performers. 

I had the opportunity this weekend to see an eclectic array of performances by artists from Chicago, New York, Detroit, Atlanta and Portland coming together to share their passion for dance in a festival arranged by ArtLab J. This well-planned, 3 day festival drew many dancers, choreographers and dance enthusiasts of all ages and skill levels to participate in classes, productions and networking opportunities within the community. It was my first time attending a production at the YMCA Boll Theater and ArtLab J’s studio, both in Detroit. There was a great diversity in the dance styles, choreography and music that evoked an emotional journey. Many choreographers incorporated different mediums and various props to deliver their messages, some of which left me pondering the meaning well after the dance had ended. I found myself reflecting on each piece and contemplating…what was the relevancy of the props? What was the meaning behind the showcased choreography piece? What, if anything, did the choreographer want to convey with the movement? Some pieces were more straightforward than others; a few left me wanting to seek out the choreographer to ask questions. I especially enjoyed the art of the storytelling and the depth of the reflection; how a clever choreographer was able to bring together the skill and emotional execution of their dancer with the selected musical composition and the use of props that would leave me reflecting upon what had been seen, rather than forgetting the dance as soon as it was over. Too often, I see this beautiful art of storytelling being lost by choreographers trying to fit in as many tricks and gymnastic maneuvers as possible. The art of expression, the simplicity of movement, the ability of a dancer to convey a story through every gesture is at times being lost or overshadowed by moves that don’t necessarily fit. Not this weekend! So many performance pieces were beautifully choreographed and the skill set of dancers evident. The fact that both performance locations were small and quaint allowed you to feel more of a personal connection to each piece. The slightest movement, breath, facial expression and costume detail could be seen. Thank goodness for the many talented and technically trained dancers that appeared to be very confident in their performances; being in such close proximity to your audience might have left the less confident dancer feeling a little vulnerable. If the performers in this showcase were nervous at all, you would never have known. The weekend was brought to its finale with a display of various hip hop dance styles that led into a lively, hand clapping, hip hop jam that made you want to get up out of your seat and dance!

Joori and her team delivered in their goal of presenting a forum wherein the dance community had the opportunity to unite, and share knowledge and talents, thus adding to the resurrection and promotion of the arts in Detroit. The forum also brought forth good-hearted fun with after-parties that offered opportunities to connect with fellow dancers/dance lovers and inspirational classes that allowed participants to experience different styles from industry professionals. I left this weekend excited to take back new ideas to my studios. I am looking forward to next year’s Detroit Dance City Festival.

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Friday August 23: YMCA Boll Theater 8pm Performance

ChelseaRadgensby Chelsea Radgens / Bio on DP writers page

The 8:00 YMCA Boll Theater show on Friday, August 23rd closed a successful first day of the first Detroit Dance City Festival, presented by artLab J. As the artLab J intern, I enjoyed the unique opportunity of stage-managing each show at the YMCA venue, thus experiencing each piece both from backstage and as an audience member during technical rehearsals.

The show kicked off with an upbeat and folk-inspired piece by the Renegade Dance Architects of Chicago. Pleasant to work with and to watch, Renegade set the mood of opening night right. The tone of the piece is uplifting, but depth is created through the use of a diverse group of dancers. The cast included clear differences in dance style as well as age, giving the work a heavily nostalgic overtone, which the clear choreography solidified. Besides being pleasant to watch, the dancing tells a story exploring themes such as letting go of the past, and the value in close relationships; it was clear that this company was more like a family than just a group of individual dancers. Between the relaxed costuming (the dancers wore casual sundresses), the simplicity of the dancing, and the amiable performance quality of the dancers, Renegade’s performance was easy on the eyes.

The second piece, a contemporary ballet duo, was quite a treat for ballet lovers, myself amongst them. Arch Contemporary Ballet Company, from New York, delivered a purposefully uneasy piece with gorgeous lines and modifications of classical movements. ‘Jamais Deux Sans Trois’ (Never two without three), utilizes partnering strength in a way that is not often seen with two women in pointe shoes, even in contemporary pieces. With modified fish dives in abundance, Kaitlyn Salisbury remained perfectly poised and embodied feminine strength as she effortlessly lifted and tossed her lithe partner (and the piece’s choreographer), Sheena Annalise. The work inspired a vintage feeling with its warm lighting and music-box music. However, the music was artfully chosen to make the audience uncomfortable with interludes of eerie dissonance. It also speaks volumes to the beauty of the piece that during the technical rehearsal, there were audible gasps from fellow performers.

The dark vibe served as a lovely transition to Oregon native and artLab member, Alexander Dones’ ‘play..’. As a gifted performer, Dones shined in his theatrical solo work done to an excerpt from Samuel Beckett’s “play”, the cast including Alan Rickman. Dones tells the story of the lasting affects of marital infidelity through subtle, though wholly expressive, movements to the fast-paced text. The choreography is not overdone, nor overdramatized, and utilizes occasional stillness in a way that eliminates the risk of unpleasant melodrama. By the end, Dones is left standing on a stool while the voices fade out. Suddenly, the lights cut and Dones disappears, with the stool tipped on its side in a pool of light.  The music swells, leaving the audience in a resonating afterglow of the tragedy that has just unfolded as the lights fade out.

Next and keeping with the textual theme, Laressa Batson took the stage with resounding internal confidence. Her work, ‘Can’t Stop Dreamin’, expresses her desire to be heard as she embraces her passion. There is often a fine line between loving yourself and becoming arrogant, though Batson never straddles this line. She is strong in her dancing and through her message, but made it clear to the audience that she does not want to preach at them. The lighting and the dancing is straightforward, matching with the words from the poem read live during the performance. Batson utilizes her space and levels well, incorporating a nice amount of drops and floor work. The work is danced only to the words of the poem, though Batson still managed to incorporate fluid musicality to match the rhythm of the words being spoken. ‘Can’t Stop Dreamin’ was also a nice, optimistic turn from the last few darker pieces.

The tone switched again for Marcus White’s ‘Waiting for GoDDot’. Performed to mechanical music, White deconstructs rigid gender roles while highlighting the struggle between sexuality, society, and spirituality. The piece obviously alludes to another Beckett play, the existentialist “Waiting for Godot” and the choreography evokes a similar explorative reaction while also reading like moving spoken word. White’s choreography is bold and it is quickly made clear that he is not afraid to push the audience out of its’ comfort zone to encourage contemplation. He is controlled, demonstrating a substantial amount of core strength, while also soft and fluid. At the end of the piece, White proceeds down a diagonal strip of light, making the religious connections obvious. Unlike the play, it seems that White’s wait does indeed reveal his Godot.

Artlab J closed out the show with the lovable and campy ‘In Between’. Using a cast of four dancers, themes of love overtook the stage, ending the show on a blissful note. The 15 minute long piece literally asks, “What is love?” and it is up to the audience to decide that for themselves. The piece is intentionally ridiculous, with the dancers switching partners, becoming jealous, and eventually ending up happy. Each dancer holds their own for the duration of work and also work exceedingly well in unison and in partnering. Each dancer brings their own personality and movement to the table, highlighting their own talents, as well as complimenting each other’s. Amber Golden is sweet and playful, while Chris Braz is fun-loving, though a steady partner. Alexander Dones again harnesses his undeniable charisma, while Rachael Ahn Harbert holds the audience in the palm of her hand. ‘In Between’ was the perfect close to a well-balanced bill, and a great end to the beginning of a great weekend.

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Saturday August 24 YMCA Boll Theater 6pm Performances

MarcusWhiteBy Marcus White / Bio on DP writers page

In the cool theater, we hear murmurs of the highly anticipated second night of performances at the YMCA Boll Theater. This review is based on the view of a dance practitioner and arts blogger upon initial encounter.  Title of work, choreographer’s name, and dancers name were not considered in the production of this review in order to maintain a certain level of integrity of the work.

Inovus/Joanna Olewicz/MI “Breaking light”

The work opens with group breath, which we never saw again throughout the work. The use of 9 Inch Nails “Slipping Away” added an edgy tone to the somewhat dark (literally) stage.  The costuming drew on a red color pallet and seemed to support this idea. We see relationships both as couples and in ensemble work. The second section of the work conjured ethereal or heavenly focus.  The movement for the company drew from various dance traditions most notably Paul Taylor though some sections looked under-rehearsed. Nevertheless, the theme of group versus individual was apparent.

Cathy Taister/MI “Coppelia Syndrome”

Unique costuming choices with a memorable mask, white dress, and pointe shoes showed the choreographers bold aesthetic choices.  Movement was sharp, static, and staccato almost reflecting mannequin or robotic gestures.  Ballet technique of the dancer took away from the work making it hard for viewer to digest seriously. The work seemed to create a dynamic or commentary about beauty versus the grotesque. The voiceover and music score created befuddlement for the audience as I looked at the questioning faces of the viewers with looks of puzzlement.  The dancer draws on various movement vocabularies including ballet, pedestrian gestures, and “the worm” to convey her message. The removal of the mask at the end only revealed another mask representing a continual cycle and retelling of this constant struggle.

 

The Umbrella Company Photo (c) Scott Lipiec

The Umbrella Company Photo (c) Scott Lipiec

“The umbrella Co/Jessica Parks and Stephanie Booth/NY “Brooklyn Spoke”

Electronica music with cool lighting helped set the scene of this female duet.  The work was visceral and demonstrated the limits of human capabilities.  Lush continuous movement drew on modern and contemporary movements to create gestural fluidity.  Partnership used weight sharing which will need more rehearsal; however, body lines were clear with simple costuming that showed dancers bodies.

artLabJ Dance Company/ Joori Jung/ MI “Without You”

Two dancers with red LED lights within a plastic bag moving slowly in the space created a sense of amoeba for the audience. Ambient music supported this seemingly experimental work.  The interplay of lighting and darkness made audience want to anticipate and identify the dancers in space.  We see the dancers are then “birthed” into the space as they remove the plastic tarp and the lighting opens the space.  New light white colored LEDs connect the two dancers connoting conjoined twins or some other symbiotic relationship.  When the LED lights were removed and the bodies were “free”, the male dancer asserted his dominance (a recurring theme) and used his “red belt”, which served as additional tie between the two dancers. The performers/movement artists did a fine job of commanding the audience’s attention through their presentation and characterization.    The audience was engaged with audible “ooohs” during the piece’s “shocking” moments with an obvious play of humor and beauty.  From viewing the work it is clear that rehearsal changes the professionalism of the work: the performers were prepared, clarity of choreographic and performance ideas were apparent, and the development of movement motifs was manifested beautifully.

Renegade Dance Architects (of Chicago)/Tiffany Lawson/ IL “Tres Hombres”

Renegade Dance Architects. Photo (c) Scott Lipiec

Renegade Dance Architects. Photo (c) Scott Lipiec

Laundry baskets. Multi colored striped socks, plaid shirt and shorts.  Sophisticated play with music and use of “global music traditions” created a sense of versatility and choreographic diversity.  The three dancers perform with their back to the audience only to reveal humorous fake glasses and nose mask.  The use of books and fabric revealed a “geeky” motif that created an engaged and responsive audience. Smiling and characterization from the dancers advanced this “geek” motif as well as the gumby like movement, quirky music, and choreographic elements. Kudos to the choreographer.

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Saturday August 24 YMCA Boll Theater 6pm + artLab J 7:30pm Performances

PauletteBrockingtonby Paulette Brockington / Bio on DP writers page

Innovation versus Convention

Of the nine contemporary dance numbers I saw only four ventured away from highly percussive music although one of the remaining five did use the spoken word as its dominate score. All but one used silence for their transitional movement. So has that innovation become convention?

My evening began with “Breaking Light” performed by INOVUS (MI). I found their use of

INOVUS. Photo (c) Scott Lipiec

INOVUS. Photo (c) Scott Lipiec

breath rhythm at the onset quite dynamic. The dance had two sections – one to highly percussive music, the other to choral music. I did not find the music cohesive but did appreciate the movement quality demonstrated by the group. However, their second section relied highly on unison movement fell short of that mark. They supported each other well in partnering and as a group used the space well.

Cathy Taister (MI) followed with “Coppelia Syndrome.” Dressed in a white Romantic length gown with a white mask and pointe shoes Ms. Taister performed a parody on “Coppelia,” a comic ballet by Arthur Saint-Leon which premiered in 1870. Her movement, even with the comic theme, reminded me of Tom Cruise in “Eyes Wide Shut.”

The umbrella Co (NY) was third on the program performing “Brooklyn Spoke.” The duet were performed by technically proficient dancers who moved fluidly throughout the two-sectioned piece. They were the best dancers of the night.

ArtLabJ dances 'Without You'. Photo (c) Scott Lipiec

ArtLabJ dances ‘Without You’. Photo (c) Scott Lipiec

artLab J Dance Company performed “Without You.” This commentary on relationships matured from a cocooned, red-lit presence to birth, through adolescence into acceptance. It was at times humorous and ended up being the most thought-provoking piece of the night.

Renegade Dance Architects of Chicago (IL) closed The Boll concert with “Tres Hombres.” The trio attempting laundry chores were at times humorous to the Herbie Hancock version of “Watermelon Man.”

From Boll I raced over to artLab J for its 7:30 show to be greeted by a 4-flight walk up. (The space is not handicap accessible.) The performance space was long and narrow putting the audience in two long rows against the wall. The first piece “Gymnopedie” was a French Expression film featuring Satie’s music, silence, subtitles and movement projected on a white cloth in the center of the room. It was a Detroit production film by David Benoit-Mohan.

Kristi Faulkner Dance (MI) followed the film performing “Vested.” It heralded the first of a number of sound problems that cropped up during the concert. The trio of dancers fully used the space perhaps more than any other companies. If you were in the second row sight lines were surely affected because of the narrow, long performance area. But if a soloist went house right the duo was performing left.  The company’s choice of spoken word was at times replaced with percussive music. The soundtrack and the dancers spoke about body language with clear movements and attack.

Detroit Tap Repertory (MI) performed next presenting a colorful number that was well tapped but a bit stagnant without changes in formation. This number was a late addition.

Big Red Wall Dance Company (MI) was the fourth number on the program with “Behind Closed Doors.” The first section was filmed and projected on the back wall. The second section of the night featured the evening’s only stationary prop, a door.  Danced to a jazz score the dancers showed a nice sense of attack.

Next the Laura Armenta Dance Company (MI) performed “Summer Rituals.” This duo in red dresses moved with and without yellow scarves. The fabric could have been used more artfully. I found their movement on the elementary side but pleasant to watch.

ISISRAKS DANCE TROUPE (MI) performed “’RAK’N CHOUKRANE next.  This group of experienced and inexperienced dancers was colorful and stiff during the first section of this piece. Several seemed unsure was what they were doing. The second section offered more movement choices that put the group in a better light, was more rhythmic and utilized the space more fully.

The evening closed with Detroit Tap Repertory (MI) performing “Peanuts” to Schroeder’s piano solo. They were again colorful and moved through the space nicely showing more variety and aplomb than in the earlier number. It would have been nice to see the lines changes but all in all it was a good choice as the closer with its positive note.

In ending let me say that in the recent past, modern dance/contemporary dance, explored silence as a soundtrack. It now seems eons ago when the dancers at Judson Church and others of their ilk embraced the pedestrian to find their voice. Today I found echoes of that voice. It would be nice to see some patterns disappear that have become comfortable shoes. And I say shoes because they do make a statement from stilettos to sneakers sometimes with attitudes or without. Catherine de Medici wanted to make a statement during her wedding ceremony, being short in stature, so she commissioned her cobbler Stiletto to create shoes to make her look and move that way no one had in the past. Perhaps we might look at some shoes.

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Saturday August 24, YMCA Boll Theater 8pm Performances 

ChelseaRadgensBy Chelsea Radgens / Bio on DP writers page

Though the bill included only three dance companies, the Saturday YMCA show at 8:00 was arguably host to some of the biggest names in the Detroit Dance City Festival, including Take Root and artLab J from Michigan, and Sidra Bell Dance New York. Each of the three pieces in the show felt refined and thoughtful, hopefully leaving the audience provoked and inspired.

The show opened with a 10-minute piece, ‘Transit’, from Take Root, co-founded by Thayer Jonutz and Ali Woener, both current professors of dance at Oakland University. ‘Transit’ has a cast of seven seasoned dancers, and incorporates a whole lot of paper. Throughout the piece, the dancers alternate between scrambling to pick up as much paper as possible, flinging it about the stage, or burying fellow dancers in it. The choreography is simple, though wise, and leaves much up to the audience’s imagination. The biggest question I found myself asking was: what does the paper represent? Does it symbolize greed? Is it money, love, experiences, blame, or something else entirely? Whatever it is intended to be, it is certainly is something to contemplate.

Aside from the meaning of the piece, the dancers of Take Root were all courteous and consistently professional. As seasoned dancers, the level of technique was as high as their performance quality. It was clear that the dancers all had different dance backgrounds (Woener was a Radio City Rockette, while dancer Meg Paul is heavily influenced by classical ballet…etc), though they danced well together. It was also very calming to watch Take Root, as they were unfailingly steady; you had to trust that each bit of partnering and each step would go smoothly. Overall, ‘Transit’ was a delight to watch.

New Yorker Sidra Bell’s company was up next. ‘Disembodiment I’ featured two dancers and explored gender performance, as well as the merits and struggles in androgyny. ‘Disembodiment I’ featured two male dancers, distinguished by drastically different costumes. Austin Diaz represented the masculine in a plain black wrestler-like unitard, while Jonathan Campbell took on the feminine in shorts and black corset. I interpreted the piece as two sides of the same coin. As in, the dancers were not two separate people or meant to embody “the girl” and “the boy” or anything, but as two parts of the same person, as two genders exist in all of us.

The lighting was stark and simple, and the choreography played with weight transfer in a way that reflected a balance struggle. Many times, the dancers would look like they would topple over until they pulled back at the last possible moment, demonstrating their immense strength and control. Footwork was complicated, while the arms were freer, creating a pleasantly different aesthetic than the other two works showcased that evening.

Soft-spoken and eloquent, Sidra Bell and her dancers were a joy to work with, and ‘Disembodiment I’ fit right in as a thought-provoking and technically beautiful work.

DDCFSidraBellSat8pm

Sidra Bell Dancers. Photo (c) Scott Lipiec.

Last, artLab J’s own ‘Dream City’ finished the show. As ‘Dream City’ has already been reviewed twice on dancepanorama, I will keep my review short. Artlab J dancers function so well, not only because of artistic director and founder Joori Jung’s gorgeous, and fantastically musical, choreography, but because they are a family. They are synchronized, they are conscientious, of the music as well as each other, and they are passionate. They are dedicated to their art, and they charm and move the audience in rare ways. Perhaps I am biased, but artLab J is truly something specia

Saturday night at the YMCA Boll Theater was another hit, and I was honored to be a part of it. Cheers, dance lovers!

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Saturday August 25 YMCA Boll Theater 8pm Performances

MarcusWhiteBy Marcus White / Bio on DP writers page

As the final audience members enter the room, one could feel the energy of anticipation for tonight’s performance.  Three professional companies share the bill in one of the Festival’s most anticipated performances Saturday August 24, 2013 (8pm). This review is based on the view of a dance practitioner and arts blogger upon initial encounter.  Title of work, choreographer’s name, and dancers name were not considered in the production of this review in order to maintain a certain level of integrity of the work.

Take Root/Thayer Jonutz & Ali Woerner/MI “Transit”

'Take Root'. Photo (c) Scott Lipiec

‘Take Root’. Photo (c) Scott Lipiec

Distortion in music. Piles of debris in the form of paper (and lots of it).  Directors crafted a complex web of ideas in negotiating the space using the debris.  The paper helped create moments of clearing, erasure, adding and subtracting from the space.  There was sense of urgency created by the committed performance artists.  The work spoke about the creation of boundaries, ease of mobility, and complexities of motion.

Sidra Bell Dance New York/Sidra  Bell/NY “Disembodiment I”

Sidra Bell Dance NY / Photo Scott Lipiec

Sidra Bell Dance NY / Photo Scott Lipiec

Male dancer runs. Black shortard.  Spokes of jumping. Muscularity of the dancer heightens audience physical experience. Clarity and precision of line in space creates functionality and purpose. Repetition of vocals also supports this specificity. Introduction of second male dancer with black corset and brown shorts creates an energetic, elastic duo. Second dancer shares his non narrative solo work at the conclusion of duo with supple, succulent gestures created by choreographer. The dance maker’s play within and with the music shows  their sophisticated movement approach.  Presented in Detroit as a work-in-process,  the work is freshly packaged and nuanced.

artLabJ Dance Company/Joori Jung/ MI “Dream City”

Dancers start on ladder. All white. We hear birds chirping and water flowing. Two dancers lie on the floor while three dancers are placed on top of ladder: one being held like a baby. There was an obvious light cue missed as dancers began to perform in the dark taking away from the theatricality of the work.  We see moments of looking and searching. The sound score connoted an aboriginal feel. The ladder originally seemed melodramatic but later served the work’s theatricality and became a central physical and metaphorical component to the work.

Throughout work we see challenges and pitfalls of the cast as well as their successes , one of these moments in particular was a section reflecting one of Detroit’s trademark sounds: “Motown”.  The cast who transitioned to multicolored tutus and white showcased a brighter side of their journey. Our laughter, joy, and nostalgia, however is short lived as dancers create a sense of urgency and pacing, in their now all black garb.

Video projection of Detroit’s temporal history was the second literal attempt at capturing Detroit’s history and contribution.  Female solo provided an abstracted account of the “Dream City’s” (aka Detroit) struggle and the decline or rising. It is clear that the director/choreographer did her homework.

The work concludes with one male dancing in and with paint. This resonates with me personally as being symbolic of Detroit’s future as being gray matter. There is no clear resolution, no clear answer: only the memory of the past, existing of the present, and hope for the future.

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Sunday August 25 YMCA Boll Theater 6pm Performances

MarcusWhiteBy Marcus White / Bio on DP writers page

After three days of classes, performances, and social events we arrive at the Festival’s last concert dance performance at the Boll Theater Sunday August 25, 2013 (6:30pm). This review is based on the view of a dance practitioner and arts blogger upon initial encounter.  Title of work, choreographer’s name, and dancers name were not considered in the production of this review in order to maintain a certain level of integrity of the work.

Erica Ricketts/IL “Wishing You Were Here, Sincerely, Infinity” (excerpt)

Glow in the dark, tie dye pajamas and smiling faces reflected silly, embarrassed, excited or joyous expressions.  The work starts with female dancer collapsing while one dancer shakes.  Convulsing, pulsating sensation was a regular occurrence throughout this tenderfooted work.   Experimental music used tempo alteration of pop music while female dancer mouths words.  Guided walking patterns and directions was a central theme to this work.

Inovus/Joanna Olewicz/MI “ Foot prints”

“Foot prints” a popular inspirational poem was a central theme to this trio.  Greenish blue top with yoga pants. Guided partnerships and weight sharing supported central theme and conjured moments of codependency.

Kristi Faulkner Dance/Kristi Faulkner/MI “Four Letter Word” (excerpt)

Kristi Faulker Dance. Photo (c) Scott Lipiec

Kristi Faulker Dance. Photo (c) Scott Lipiec

Pool of light down stage left solo work complemented by performer upstage right with similar pool of light singing Whitney Houston’s “ I Will Always Love You.” Remaining cast joins solo dancer: symbolic of long lost memory or passing thoughts of love and lost.  Dancers then begin parade of flower passing until all dancers kiss one male dancer who drops as the music starts.

Movement connoted sensuality and included moments of poking and rubbing.  The work explored complexities and journey of romantic and plutonic relationships.  Dancers costumes included a black and grey color pallet with the exception of female solo dancer. The second section seemed to have a narrative approach.  Same gender and mixed gendered partnering made me question the characterization of relationships and intent of choreographer. To be continued…

Detroit Tap Repertory/Robert L. Reed/MI “The Sheik”

Detroit Tap Repertory. Photo (c) Scott Lipiec

Detroit Tap Repertory. Photo (c) Scott Lipiec

 

Classic smooth tap routine.  There were moments of sound imprecision and discord in synchronization with each other as well as the music.  Overall nice costume presentation and uniformed look.

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Sunday August 25 artLab J 7:30pm Performances

PauletteBrockingtonBy Paulette Brockington / Bio on DP writers page

Impressions from the Avant-Garde

The concert in the long-limbed artLab J Dance Studio started some 25 minutes late with the French Impressionist styled film “Gymnopedie.” French Impressionist Cinema or so called narrative avant-garde is applied to a group of French films and filmmakers of the 1920s. This style relied on quick editing techniques and camerawork in order to relay the message of the film – in this case Detroiter David Benoit-Mohan’s statement on beauty. The music by Erik Satie was the soundtrack for one to three dancers moving or not moving as Mr. Benoit-Mohan used techniques such as superimpositions, filters, framing, slow motion, playing with focus to convey the emotions and mood of his narrative.

After the film Laressa L. Batson (MI) danced in silence then to poet T-Y in “Can’t Stop Dancing.” As he spoke she maneuvered around him keeping a great deal of the movement to the stage left side of the room. T-Y was a subdued speaker who needed to show a bit more conviction in his words.

Erica Ricketts & Tia Monet Greer. Photo (c) Scott Lipiec

Erica Ricketts & Tia Monet Greer. Photo (c) Scott Lipiec

The next piece also started in silence. “Ask Me Later” was performed by Erica Ricketts and Tia Monet Greer (IL). The duo filled the space nicely accenting their movements periodically with a clap, slap or finger snap which continued in the second section when their music came in. It was short but sweet.

LaMarre and Dancers (MI) performed “Ambiguous Occasion” to a live (John) Cagesque music. As it’s title suggestions it lacked clearness but I did ultimately feel that the primitivism of the score and animal impressions of the dancers gave way in this duet to the demand for power and sublimation. Doris Humphrey* felt “all dances were too long.” Here I’d have to agree.

Lauren M-R Taylor (MI) followed with “A Woman’s Window.” The piece performed to a jazz score was augmented by the spoken word. Brent ‘Black’ Smith was a strong, clear-voiced speaker who delivered his words with belief. From the onset his presence was felt. However, he should have been placed more upstage of the opening soloist so she could be seen by those seated house left. The trio of female dancers showed skill at ethnic movement artfully done as non-traditional movement. As an interlude the speaker joined the dancers and after a brief sequence returned to speaking. The piece was the most cohesive of the night.

Choreographer Emily Durand (MI) presented “Twisted Nerve” on a quintet of dancers. The piece was dynamic, well danced, thought provoking and fully used the space as an environment. Of the 20 or so pieces I saw over the weekend this was the best. Kudos to Emily Durand.

* Doris Humphrey known in dance history as a prolific choreographer, creator of a physical language developed technical principles for dance and a system of ideas about choreography.

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 Sunday August 25 8pm YMCA Boll YMCA 8pm Performances

BrittanyMacIntyreBy Brittany MacIntyre

Brittany MacIntyre is a competitive dancer with a local dance studio. She has trained in the Cecchetti, Russian styles of classical ballet & pointe, and also studies tap, jazz, lyrical, contemporary, hip hop and modern dance. She has been dancing since she was 3 years old and is now teaching dance to children of all ages. Brittany is an honor roll student and hopes to pursue a career in medicine and dance.

On August 25, 2013, I had the pleasure of attending the Detroit Dance City Festival. After a long weekend of classes and inspiring performances, it all ended with hip hop performances and a jam. Some hip hop dancers had kept a similar flow throughout their piece, while others included a variety of styles. You could see twists on popular dance moves such as Michael Jackson’s moonwalk and break dancing moves from the 80’s-90’s.  It enhanced the mood to see  a  DJ on stage with the dancers, spinning a collection of cool songs. Some performances based themes on popular tv shows or movies, such as Adventure Time and Transformers. Gestures to certain lyrics in the music were entertaining, showing a relationship between the song and the movement.  Many performers were gifted hip hop dancers but my favorite group was Cymatic Soles, from Michigan – Mike Manson and Ajay Delarosa. They were very entertaining and their style showed an array of talent and ability.

The night ended with an improv, hip-hop jam. Any of the dancers could groove their way into a circle, at any given time. Both dancers young and old participated and cheered each other on as they free styled.  Isolations were sharp, head spins were impressive and the audience clapped for the flips and tricks.

It was an energetic, entertaining and fun way to end the weekend. Joori and her team brought together many different people, styles, and creativity, all to share their love for dance, performing and expression. I had a blast this weekend and can’t wait for even more next year.

This Weekend March 9: Michigan 5 / Choreographer Showcase at the Berman Center

Courtesy of Sari Cicurel / The Berman Center For The Performing Arts

The Berman Center for the Performing Arts will host, “Michigan Five: Choreographer Showcase,” Saturday, March 9, 2013 at 8:00pm, highlighting the most outstanding and creative dance talent from colleges and universities through-out the state.

This year, the “Michigan 5”are:  Oakland University, Hope College, Western Michigan University, Grand Valley State University and the University of Michigan.

Greg Patterson, Director of this year’s ‘Michigan 5’

“Michigan 5” is led by Greg Patterson, associate professor of dance at Oakland University and founder and artistic director of the Patterson Rhythm Pace Dance Company.

Patterson is thrilled to announce this year’s guest choreographers: Oakland University’s Thayer Jonutz and Ali Woerner with the set design created by Jeremy Barnett , Matt Farmer from Hope College, Western Michigan University’s David Curwen, Shawn Bible from Grand Valley State University, and from the University of Michigan, Jessica Fogel.

Elaine Smith, Managing Director of The Berman Center for the Performing Arts, looks forward to the return of this dance showcase to The Berman stage. “Every month, The Berman Center for the Performing Arts offers audiences the finest music, theatre and entertainment programs. This showcase of the universities is excellence in dance, “said Smith.

Program Notes:

Thayer Jonutz / Oakland University

Oakland University, Thayer Jonutz:  Things Happen Because I See

This collaborative project was choreographed by Oakland University’s Thayer Jonutz and Ali Woerner with the set design created by Jeremy Barnett. The piece explores human interaction in a variety of public spaces.

Ali Woerner / Oakland University

 

 

Matthew Farmer / Hope College

 

Hope College, Matt Farmer: due e una 

The piece is a soft duet between two women (music by Arvo Part), and is influenced by the weight of oppressive darkness.

David Curwen / Western Michigan University

 

 

Western Michigan University, David Curwen: the lie

A  strong modern work choreographed by WMU dance alum, Jacquelyn Nowicki,  Music is by the Kronos Quartet, Music title: UNIKO.II.Plasma, Western Dance Project Dancers: Sam Assemany, Darryl Barnes, Jalisa Brown, Connor Cornelius, Alex Laya, Emily Rayburn, Sarah Rot, Alli Zajac

 

Shawn Bible / Grand Valley State University

Grand Valley State University, Shawn Bible: Sacrificed

A contemporary pointe dance filling space with drums, silhouettes, and physicality. The intense process of ritual dance and sacrifice is portrayed.”

 

 

 

University of Michigan, Jessica Fogel: Hath Purest Wit: Anagrams for Eight Dancers and Thirteen Letters 

Jessica Fogel / University of Michigan

The concert begins with a pre-show interactive lobby performance installation that transfers to the stage in choreographer Jessica Fogel’s Hath Purest Wit: Anagrams for Eight Dancers and Thirteen Letters.  The interactive performance installation in the lobby invites you to translate what you see into words or sketches. What you see and interpret in the lobby is re-imagined onstage, not just through movement but also through music and text. Making and experiencing art form part of a buoyant, flexible, ongoing process.

Tickets to “Michigan Five: Choreographer Showcase,” on Saturday, March 9th at 8:00pm, are $21 Admission, $16 JCC Members, $12 for students and groups will pay $11 for tickets. For more information visit www.theberman.org   or call the box office at (248) 661-1900.

Interview with Keith Saunders, Ballet Master of Dance Theatre of Harlem

Keith Saunders

by Julie Gervais

Dancepanorama had the opportunity to talk with Keith Saunders, Dance Theatre of Harlem Ballet Master, in advance of the Company’s arrival in Detroit for performances at the Detroit Opera House Feb 1, 2, and 3.

 

DP: It was shortly after the company’s visit to Detroit in 2004 that Dance Theatre of Harlem went on hiatus, suspending operations of the professional performing company. When dancers get injured, and rehabilitate, and then return to work, it’s an exciting time but a dancer is also changed by that process. Does the company feel something like that?

KS: It’s an interesting analogy – yes – we are changed by that process; we are strengthened by that process. There’s a renewal. We feel very much alive and excited to return to the national and international landscape. And the new Dance Theatre of Harlem is not the company of 2004. Almost all of the dancers are new, of course because eight years is almost an entire generation in the life of a ballet company. And there are other differences: one of the biggest being that the size of the company has gone from 44 dancers to 18, now. These dancers have been hand-picked from our second company, the DTH Ensemble, which has been touring nationally since 2009 [and visited Detroit during that time]. Some dancers have also been brought into the company from our national auditions.

DP: How many of your current 18 dancers remain from the pre-hiatus days?

KS: There are a couple of dancers on the current roster who were with us before, including one of our leading dancers, Ashley Murphy, who was an apprentice with DTH in 2004.

Ashley Murphy. Photo (c) Rachel Neville.

And Taurean Green was with us in 2004. He danced with other companies in the intervening years and now he’s back with us.

DP: What changes in repertory have resulted from the decreased size of the Company?

KS: Our Artistic Director, Virginia Johnson, did a very smart thing. Over the last three years, as we worked toward the return of the Company, and we’ve known for a while now that we were planning to go with 18 dancers, Virginia instituted a choreographic development program that she called ‘Harlem DanceWorks 2.0’. She invited choreographers in to develop, working with dancers we hired, new works that would form part of the rep of the new company. We are bringing one of the ballets that came out of this project to Detroit. It’s called ‘Far But Close’. It’s a narrative ballet, a contemporary love story of two people who meet in Harlem. Some of the other ballets we’ll be performing in Detroit have been developed just this season – world premiere ballets specifically for the company, or company premieres. We will be performing Alvin Ailey’s ‘The Lark Ascending’ – the first time any company other than the Ailey company will perform it – and this is the first time it’s being performed on pointe. We’re bringing two Balanchine ballets, his masterwork Agon [which was in Dance Theatre’s rep prior to hiatus], plus a lesser-known work: Glinka Pas de Trois, which dates from the 1950s and is a small gem of a work. We’re also bringing a Donald Byrd ballet called ‘Contested Space’, which was made on our second company last season and has been brought forward. Obviously right now we won’t do Giselle, or Serenade, or Four Temperaments…some of those bigger ballets that were staples of the former company, the size difference means we’re unable to do those now. So what Virginia has done is to develop ballets for this company at this size. We do retain some ballets from our previous repertoire.

‘Return’

‘Return’, by Robert Garland is one of these that we’ll be bringing to Detroit. It’s very popular and set to songs by James Brown and Aretha Franklin.

We’ll also be bringing the world premiere that Robert choreographed for us for this season, called ‘Gloria’ – a full-company ballet set to Francis Poulenc’s Gloria.

‘Gloria’ Photo (c) Matthew Murphy.

It was the first ballet seen when the company returned to the stage in October. We’re also bring the Swan Lake Act 3 Pas de Deux. So it’s a carefully selected balance; there are two complete programs. There are original ballets made on these dancers, there is repertoire from the former company, and there are company premieres. This is the Dance Theatre of the 21st century. We’re interested in continuing to grow and develop our dancers of course, but also interested in exploring the idea of what ballet in the 21st century means.

DP: In a recent interview, Virginia Johnson discussed the ongoing disparity between the diversity in our population and the diversity represented in ballet companies. How does DTH’s original mission fit into the 21st century?

KS: It’s still a necessity for DTH to have this sensibility. We’ve been having the same conversation for as long as I’ve been involved in ballet. I don’t that anyone has ever had a satisfactory answer, but if you look at ballet companies across America, it’s not really that different from what it was years ago; it’s frankly not that diverse. Dance Theatre’s mission to continue to provide opportunities for black dancers remains unchanged, and remains relevant.

DP: The fact that we’re still having this conversation – is it good, in a way? In the sense that, if we’re talking about it, we’re acknowledging that there remains work to be done.

KS: I don’t want to say it’s exactly the same as years ago – there is some more diversity now, but change is slow. There are so many factors that go into it. So yes, perhaps the fact that we’re still talking about it is good, in that we need to continue to make people aware. Particularly people who serve on Boards of Directors and as Artistic Directors, it’s important that they know that there is still an issue of inclusion.

DP: Thank you so much for carving time out of a busy schedule, and we’re looking forward to seeing you next week!

KS: We’re looking forward to being there!

 

 

 

 

 

Preview: LM Productions ‘Broadway in Detroit’: Masonic Temple December 14

Lisa McCall

Lisa McCall is at it again!

This whirlwind of a woman, who has crafted an international career as a performer, choreographer, educator and producer, is once again working her magic as she prepares a big show: a Broadway-style production that showcases major stars alongside some of our own Detroit performing artists.

She makes clear how important this is to her – to create opportunity for local performing artists who have the talent and the drive, but maybe not the resources, to propel themselves all the way to New York. She puts them up on stage with artists who are in the international mix, and schools them in the demands and standards that it takes to get there. She chooses as collaborators other established artists who also care about this goal.

Dancers in rehearsal for ‘Broadway in Detroit’

Legendary percussionist Bill Summers, who worked with Quincy Jones in writing the musical score for the mini-television series ‘Roots’ and the soundtrack to the ‘The Color Purple’, says “I want to share my experience and knowledge with the current and next generation of artists. I have worked with my own idols and I have information that can help make the road less arduous for those seeking a productive life in the arts. There are no shortcuts to being an excellent performer but the experience of the experienced can shorten ones life journey to success.”

‘Broadway in Detroit’ will take the audience on a musical journey, one experienced by a dancer dealing with rejection.

McCall: “We have all experienced rejection at some time in our lives, but the way we respond to it will either break us or build us up. ‘Broadway in Detroit’ will empower, enlighten, and entertain the audience.”

This show will take place in the stunning Scottish Rite Theater (also known as the Cathedral) at the Masonic Temple, 500 Temple Ave., Detroit. Tickets are $20 and are now on sale. Call 248-573-9243.

Detroit Dance Race: artLabJ November 2-3, 2012

A terrific and well-curated collection of dances was shown last weekend in the artLabJ Theater, the new dance/art space in Greektown opened just this summer by Joori Jung. There was much polished creativity at work here, lots of beautiful movement and a nicely balanced diversity of style and content. Below are some snaps from Friday evening. Keep an eye on artLabJ – lots going on there! All photos: Scott Lipiec.

Lydia Alexis Porter and Laressa Batson in ‘Dream a Little Dream’ by Big Red Stowall / Big Red Wall Dance Company.

Carson Reiners, Choreographer & Dancer: ‘Not Nobody. Yesbody’

Miranda Wilking, Melanie Wilking, and Sarah Greenwald. They choreographed their own work, ‘Crystallize’, and appear as ‘Finesse’ – teen performers who are also raising money for their college funds!

Erika Stowall and Liz Kreutziger in ‘Vested’ by Kristi Faulkner / Kristi Faulkner Dance

Aaron Smith, Marianne Brass, and Joori Jung (center) in Joori’s own piece, ‘Dream City’ / artLabJ Dance

Melanie Verna in her own work, ‘Old Time Tumbler’

REVIEW: NEW YORK CITY BALLET MOVES

October 27-28, 2012 at the Detroit Opera House

by Julie Gervais

Whether you’ve seen this company before or this was your first time, there is no mistaking the singular style and energy of the dancers in the New York City Ballet.

As much as any company in the world, this company embodies the city where it lives – edgy yet not self-conscious, supercharged but not frenetic, self-assured in its central position in the artistic universe. NYCB is pure New York.

They brought enough newer work to give Detroiters a taste of what bigger cities get to see on a regular basis, and enough NYCB ‘tradition’ to give a sense of the company’s lineage – an important consideration in light of the fact that their last visit here was in 1961. The full company numbers over 90 dancers; this touring group collects 16 of them from all of the ranks, plus their own musicians. It’s a welcome innovation.

Polyphonia. (Shown here danced by The Royal Ballet (c) Alice Pennefather)

They opened with Christopher Wheeldon’s breakthrough work from 2001, Polyphonia. His initial image is arresting: the dancers’ arms and legs make a surgically sharp sideways diagonal slice through the air. The women wear leotards of rich concord grape and the men sport the same color – this costuming being both in line with NYCB leotard-ballet tradition, and a half-step away from it. The bold and unexpected start turns out to be a harbinger, as the work turns up surprise after delightful surprise. Unusual shapes and movements flow freely and never feel forced or gimmicky, and they serve as a bridge to the musical world of Gyorgy Ligeti, perhaps foreign territory for some. Wheeldon paces the work so that even on first view, there is time to see what’s happening – and this reads as an easy confidence by an artist who doesn’t feel pressed to throw every last thing at the wall and see what sticks (a tendency with some contemporary choreographers). Maria Kowroski (of Grand Rapids) gets some of the juiciest bits, and brings a quiet but assured star power to everything she does. She has one of the most beautiful classical bodies of any woman working today, and seems to be at a point in her career where she wields her powers lightly, dazzling without ever seeming to be impressed with the effects she creates.

Duo Concertant was created by George Balanchine in 1972 – before our current age of

Duo Concertant

irony. The piece starts with the dancers standing near the onstage musicians – a pianist and a violinist – looking appreciative, admiring. Many have noted that this seems kind of hokey now, and it’s a relief when the dancers finally get to step away from their reverie and…dance. But there is a point – one that was very dear to Balanchine – which was that you must really listen to the music, really hear it and understand it, before you can dance to it. Megan Fairchild and Chase Finlay illustrated this concept with total commitment. The allegro movement is breathtakingly speedy, and it’s easy to imagine the dancers in the first cast feeling unsure whether this could be done. Subsequent generations of NYCB dancers now have this kind of speed in their DNA, but it’s still astonishing.

Herman Schmerman was created for NYCB in 1992 by William Forsythe, an American who has built an illustrious career in Germany. Schmerman has an exploratory feel to it, in its deconstruction of classical pas de deux and traditional partnering work. It’s fun and light, and seems to say that sometimes people just can’t figure out what’s going on in their relationships. Maria Kowroski and Robert Fairchild try one thing and then another, give up, walk away, come back to each other. In the end, they settle on a finger turn – kind of an inside joke for dancers, but the audience seemed to get it.

The last two pieces came from Peter Martins, the Company’s Artistic Director. It was exciting to see that Tiler Peck would dance the first, Zakouski. Ms. Peck made a name for herself even before she graduated, as a crack turner with a killer jump – not a typical combination of assets. Then she became NYCB’s youngest principal dancer. In Zakouski and everything she danced in Detroit, it’s clear she is almost superhuman in her technical assurance. But none of her roles here offered us the chance to see her really dig in, and Zakouski itself is kind of a perplexing mashup of classical ballet, folk dance, and experimental noodling.

Hallelujah Junction

Mr. Martins’ Hallelujah Junction, commissioned from its native son by the Royal Danish Ballet in 2001, really moves. It is jubilant and very, very busy with comings and goings, in the manner of Twyla Tharp’s In The Upper Room. Indeed the structure of delayed repetition between the two pianos (composed by John Adams) also feels similar to a Philip Glass work. It’s the biggest piece of the night in terms of personnel – eight corps dancers and three soloists, including Daniel Ulbricht, who brought this work the electricity it needed to come together. The fullness of his expression of each single step, and the clarity of shapes at lightning speed was thrilling. As much as anything we saw here, Junction was a good way to re-introduce New York City Ballet to a city that needed a re-introduction.

Thanks is due to Marlene Boll, Joanne Danto, and Nora Moroun for making these performances possible.

 

 

New York City Ballet MOVES Upcoming: Detroit Opera House Oct 27-28

Grand Rapids native Maria Kowroski, Principal Dancer with the NYCB, shown here in George Balanchine’s ‘Serenade’. This work isn’t on the upcoming Detroit program, but the photo shows some of the signature technical details that put NYCB in a league of its own in the ballet world.

By Julie Gervais

Puzzle: The USA is a big country. The New York City Ballet is the largest American dance organization. How do you share the magic of a ballet company with 90-some dancers and an active repertory of over 150 works?

Solution: Create ‘NYCB MOVES’ – a touring group that presents a selection of dynamic works from the company’s vast repertory. Performed by a group of NYCB dancers, including principals, soloists and members of the corps de ballet, each program features live music played by musicians from the NYCB orchestra.

Conclusion: Not only does this make abundant sense, it’s a tremendously exciting development for Detroit, considering that we’re on the tour schedule! NYCB MOVES will appear at the Detroit Opera House October 27-28. The last time New York City Ballet appeared in Detroit was…1961. We’ll try to dig up more info on that later. Meanwhile, enjoy this photo of Michigan’s own Maria Kowroski, Principal Dancer with NYCB, who is listed as  a member of the touring group. Casting and programming not yet available as of this writing, so stay tuned!!

Meet Addison Toutant – Dance Student and Winner of Two Tickets to Billy Elliot The Musical!

Addison Toutant in the Fisher Theatre, ready for the show!

By a slightly crazy coincidence, the winners of Dancepanorama’s ticket contest for Billy Elliot The Musical at the Fisher Theatre were Heather Toutant and her son, Addison – who is a 13 year old…dance student! He even resembles some of the boys who play Billy, and someone in the lobby at intermission approached him to ask if he in fact is one of the Billys! You can’t make this stuff up! So we had to ask him a few questions…

dp: Where do you study dance, and what kinds of dance do you study? How many classes do you take in the average week?

AT: I take class at The Turning Point School for the Performing Arts in St. Clair Shores …. I have been going there for 7 or 8 years. We just started this week, I think I take 9 classes per week. I take jazz, tap, hip hop, ballet and now this year lyrical.

dp: Had you seen the film version of Billy Elliot, and so did you kind of know the story beforehand?

AT: No, I didn’t but my mother told me a bit about it.

dp: Can you pick out a favorite part of the show, or maybe two?

AT: I’ve got to say my favorite part of the show was the end of the 1st half — the Angry dance. I feel like I could understand what he was going through by the way he expressed himself in that dance … It sorta got to me because the emotions were conveyed very well.

dp: Do you have to deal with people at school or elsewhere who still think that dance is ‘for girls’?

AT: Not so much of that is what I deal with, more so that people don’t think it’s a sport. I guess they don’t think dance has any competitions to it so therefore it’s really not a sport. Little do they know dance has a lot of competitions! I even compete with my dance studio.

dp: It’s just a crazy coincidence that these tickets wound up going to a young boy whose story has some parallels with Billy’s story! Did it feel a little autobiographical to you at times?

AT: Actually yeah — it did!

dp: Anything else you want to say that I didn’t ask?

AT: Next time you see a young man dancing, you can think of the show. We all struggle with our own issues, but there is always somebody behind us — supporting us.

 

DETROIT METRO DROP-IN DANCE CLASSES

Detroiter Bianca Revels shows how it’s done.

We are happy to offer this continuously-updated list of ongoing class availability in Detroit Metro. If you would like your information included, send in the format shown below to julie at dancepanorama dot com.

 

 

 

 

BRIGHTON / MICHIGAN DANCE PROJECT / WWW.MICHIGANDANCEPROJECT.COM
WE OFFER: advanced contemporary jazz
CLASS COST: $10
WHEN: Sundays 1:00-2:30pm
WHO: ages 15+
CONTACT: michigandanceproject@yahoo.com
RECITAL CONFLICT? only concert weekends & holidays

Canton/PURE EXISTENCE DANCE COMPANY / WWW.PUREEXISTENCEDANCE.COM

WE OFFER: Open company classes
CLASS COST: $10
WHEN: Sundays
WHO: Pure Existence Dance
RECITAL CONFLICT? No

COMMERCE TOWNSHIP / DDC DANCES / WWW.DETROITDANCECOLLECTIVE.ORG
WE OFFER: open company class in advanced modern & ballet
CLASS COST: $15 OR $100 for a 10-class card
WHEN: M, W, F 10 – 11:30 a.m.
WHO: adults
CONTACT: 810-444-4553, barb@detroitdancecollective.org
RECITAL CONFLICT? no

DETROIT / 3D DANCE ACADEMY / WWW.3DSHARONFREED.COM
WE OFFER: ballet, hip-hop, Zumba, modern, African, tap, jazz / all levels
CLASS COST: $15
WHEN: Tuesday & Thursday evenings and Saturday afternoons
WHO: Teens & adults
CONTACT: freedsharon3d@yahoo.com, 313-515-3549
RECITAL CONFLICT: no

DETROIT / ARTLABJ / WWW.ARTLABJ.COM

WE OFFER: Corporeal Movemennt, Ballet, Motion Study, Pilates, Afro Modern Fusion, J Contemporary, Modern, Dance Meditation, Tea & Yoga
CLASS COST: $18 drop in, $16 Detroit Dance Network members, discounts thru class card purchase
WHEN: Mon-Fri 10am-11:30am
WHO: adults / all level
CONTACT: info@artLabJ.com 313-638-2192

DETROIT / AWAKEN STUDIO

WE OFFER: Yoga/ Pilates
CLASS COST: $10/ class, $7 w/ college I.D OR $45 for the month
WHEN: M 5pm Pilates, M,T 6:30 Yoga, Th 12pm Yoga, 7pm Pilates Sat 12pm Yoga
WHO: Teens/adults
CONTACT: 313-258-4011, awakenstudio12@gmail.com
RECITAL CONFLICT? no

DETROIT / BALLET RENAISSANCE / WWW.BALLETREN.ORG
WE OFFER: ballet / beginner – intermediate
CLASS COST: $15
WHEN: Monday-Thursday evenings
WHO: Teens & adults
CONTACT: balletren@balletren.org, 313.469.0694
RECITAL CONFLICT: sometimes

DETROIT / DETROIT DANCE STUDIO / WWW.DETROITDANCESTUDIO.COM

WE OFFER: ballet, contemporary, street jazz, hip-hop / beginner-intermediate
CLASS COST: $14 single 1-hr class or $45 for 4-week session
WHEN: Monday, Tuesday, & Thursday evenings
WHO: adults mainly, teens welcome
CONTACT: 313-887-0656, info@detroitdancestudio.com
RECITAL CONFLICT? No

DETROIT/SOUTHWEST DANCE/WWW.LIVINGARTSDETROIT.ORG
WE OFFER: Zumba, Salsa, Pilates Fitness
CLASS COST: $45 for 10 week session/ $8 drop-in (first class free!)
WHEN: Salsa: Mon 7:30-8:30/ Zumba: Tues 6:00-7:00/ Pilates Fitness: Tues 7:30-8:15
WHO: adults
CONTACT: (313) 841-4765, maria@livingartsdetroit.org
RECITAL CONFLICT? no

FERNDALE / DETROIT INTERNATIONAL FOLK DANCING  https://www.facebook.com/DetroitFolkDancing
WE OFFER: Easy to advanced international folk dancing
CLASS COST: First time free, then $7 per class
WHEN: Fridays 8:30-11:30pm
WHO: All Ages
CONTACT: detroitfolkdancing@gmail.com

 

RECITAL CONFLICT? No

FERNDALE: KRISTI FAULKNER DANCE / WWW.KRISTIFAULKNER.COM
WE OFFER: Modern – intermediate/advanced
CLASS COST: $5
WHEN: Monday evenings
WHO: Ages 16-50
CONTACT: Kristi@KristiFaulknerDance.com
RECITAL CONFLICT? No
FERNDALE & OAK PARK / ISISRAKS DANCE / WWW.FUTUREWAVEPRODUCTIONS.NET

WE OFFER: Bellydance for Fitness (Beginner), Mediterranean (Intermediate), Bellydance (Egyptian, Tribal Fusion, Cabaret, Forkloric)
CLASS COST: Drop-in $8.00 & $12.00
WHEN: M/T/W evenings, Saturday mornings
WHO: Teens & Adults
CONTACT: Dee (313) 303-7321 / email:stedee12001@yahoo.com / facebook: Dee of Futurewave Productions LLC
RECITAL CONFLICT? Yes, for community events, private events.

KEEGO HARBOR / CHRISTINA’S ADULT BALLET / WWW.CHRISTINASADULTBALLET.COM

WE OFFER: adult ballet / beginning thru advanced plus
CLASS COST: first class free, $17 per Class
WHEN: Sunday thru Friday mornings
WHO: Adults and teens
CONTACT: 248-977-8699
RECITAL CONFLICT? no

OAK PARK / LASHELLE’S SCHOOL OF DANCE / WWW.LSODANCE.COM
WE OFFER: yoga, ballet, tap, modern jazz, praise dance, hustle ballroom & bop
CLASS COST: $15
WHEN: After 5:30pm Monday – Friday
WHO: 18 & up
CONTACT: lashelles@hotmail.com
RECITAL CONFLICT? no

PLYMOUTH / TRIPLE THREAT DANCE & THEATRE COMPANY / WWW.TRIPLETHREATDTC.COM
WE OFFER: jazz, ballet, turns & jumps, stretch & conditioning / intermediate thru advanced
CLASS COST: $8 – $15 depends on class
WHEN: Wednesday & Thursday evenings, Saturday mornings
WHO: 9+ but minimum age varies by class
CONTACT: 734-335-7722, info@TripleThreatDTC.com
RECITAL CONFLICT? no

REDFORD / JAZZ & SPIRIT DANCE THEATRE OF DETROIT / WWW.JAZZSPIRITDANCE.ORG
WE OFFER: Horton, tap, Dunham, Zumba
CLASS COST: $15
WHEN: M,W,F evenings
WHO: Adults
CONTACT: 313-534-0301, jazzspiritdance@gmail.com
RECITAL CONFLICT: sometimes (Apr-June)

ROCHESTER / ROCHESTER SCHOOL OF DANCE / WWW.ROCHESTERSCHOOLOFDANCE.COM
WE OFFER: ballet / beg-intermediate
CLASS COST: $20 drop-in rate or $126 for 9 week session plus $25 registration fee
WHEN: Wednesday evenings
WHO: teens & adults
CONTACT: 248-652-3117, michballet22@aol.com
RECITAL CONFLICT: no

ST. CLAIR SHORES / MOREDANCES CONTEMPORARY DANCE COMPANY
WE OFFER: ballet, contemporary / advanced
CLASS COST: $12
WHEN: Tuesdays & Wednesdays midday
WHO: teens and adults
CONTACT: 586-899-2629
RECITAL CONFLICT: No

STERLING HEIGHTS / GOTTA DANCE / WWW.SUZANNEHAWKINSBALLETWORKSHOP.COM
WE OFFER: ballet / intermediate – advanced + pointe
CLASS COST: $140 / 10 int. classes, $165 / 10 classes incl. Pointe
WHEN: Tuesday evenings, Wednesday mornings
WHO: 16 & up
CONTACT: 248-652-3003, shawkins248@comcast.net
RECITAL CONFLICT: No

UTICA / ARGENTINE TANGO DETROIT / WWW.ARGENTINETANGODETROIT.COM
WE OFFER: Argentine Tango, Zumba, salsa/latin, ballroom / beginner thru
COST: $15.00
WHEN: All evenings & weekends
WHO: All ages
CONTACT: lori@argentinetangodetroit.com, 586-254-0560
RECITAL CONFLICT? no

WESTLAND / THE DANCE ACADEMY / WWW.THEDANCEACADEMYGC.COM
WE OFFER: Zumba, yoga/Pilates mix / beginner-intermediate
CLASS COST: $7
WHEN: Tuesday & Wednesday evenings, Saturday mornings
WHO: 13+
CONTACT: 734-452-1478
RECITAL CONFLICT: no

WIXOM / ACADEMY OF RUSSIAN CLASSICAL BALLET / WWW.RUSSIANCLASSICALBALLET.COM
WE OFFER: ballet, character, pointe, variations, conditioning, men’s technique, pas de deux, adults / pre-ballet through advanced