Category Archives: Dancers

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

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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

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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!

 

 

 

 

 

Wayne State Works with Wanjiru Kamuyu

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By: Megan Drabant

Students of the Maggie Allesee Department of Theatre and Dance were very privileged to work with the amazingly talented Wanjiru Kamuyu through the opportunity of a Maggie Allesee Choreographic Residency

Wanjiru Kamuyu

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Kamuyu is a native of Kenya and a M.F. A. (dance choreography and performance) graduate of Temple University in Philadelphia, PA. As a performer, Kamuyu has toured both nationally and internationally with the world-renowned choreographer Jawole Willa Jo Zollar (Urban Bush Women). As an original cast member, Kamuyu has performed in Julie Taymor’s Broadway musical, The Lion King in Paris, and following this she became an original cast member, serving as Resident Choreographer, Dance Captain and Swing of Bill T. Jones’ Tony Award winning Broadway musical FELA! at the Royal National Theatre, London.  Kamuyu just came off the road with FELA! (Dance Captain and Swing) in the show’s first European and US National Tours.

Along with being a talented dancer, teacher, and choreographer, Kamuyu is a beautiful person with a passion of sharing her love and wisdom of dance. During her residency at Wayne State, Kamuyu auditioned and re-staged an original piece on a cast of 12 dancers with 6 swings. This piece is titled when paradise shatters at it’s seams, then what? and is based around personal experiences of when one’s world falls apart and how one overcomes and stands on the other side victoriously. Though the piece was created from a personal experience of Kamuyu’s, each dancer involved in the piece brings their own personal story to the table in order to truly bring the dance to life.

The reason this residency was so different from any other experience at Wayne State was because to go to that life shattering place one must embrace a visual, verbal, and physical rehearsal process. Vulnerability was key through out the rehearsal process as to fully find the raw emotions that are necessary for the soul of the piece. Kamuyu always made the environment safe and guided the dancers through the process with a genuine caring nature. “I came into the process without any expectations. I trusted my instincts and went where they led me. I was very concerned with making sure the dancers were always safe emotionally and would not walk out of the room at any point in a fragile state that could be difficult to navigate through,” said Kamuyu.

As for the dancers, many felt that the entire experience of the residency helped them work towards the resolution of their life shattering experiences. Senior Katie Chartrand explained, “This experience forced me to tap into my vulnerability and allow myself to feel. Though it was a terrifying process, I found comfort in the trust of Wanjiru and my fellow dancers while taking the plunge into the unknown. I am very thankful to have met and worked with such an amazingly genuine human being and know that wherever she goes she will bring light to many lives.” The rehearsal process provided the opportunity for the dancers to find a safe place to explore their emotions. “Wanjiru’s piece forced me to become openly vulnerable and she allowed the space, in which we worked in, to be a sacred place with my peers. This was an unforgettable experience and I cherished every moment with her and the other dancers,” said junior James Vessell.

Photo (c) Scott Lipiec

when paradise shatters at it’s seams, then what? is an amazing piece that takes both the performers and the audience on an emotional journey that becomes personalized to each individual involved. In retrospection of the residency Kamuyu stated, “This was a very special residency because it afforded me the opportunity to bring back to life a work that is very close to my heart.  The dancers brought such great justice and integrity to the work.  I have full confidence in each and every one of the dancers to perform the work with grace and honesty.”

Come see when paradise shatters at it’s seams, then what? performed along with many other great works this weekend and next weekend at The Maggie Allesee Department of Theatre and Dance December Departmental Concert. There will be four evening performances at 7:30pm (Friday, Nov. 30 and Thursday through Saturday, Dec. 6-8) and one matinee at 3pm (Sunday, Dec. 2). All performances are held in the Maggie Allesee Studio Theatre, Room 3317 on the third floor of the Old Main building, 4841 Cass Avenue in Detroit. Ticket prices are: $12 for adults; $6 for students (with ID) and seniors; and $15 at the door. Advance tickets may be purchased through the Theatre Box Office – 4743 Cass Ave at Hancock, open 2:00pm to 6:00pm Tuesday – Saturday, online at http://wsushows.com, or by calling 313-577-2972.

For more information please visit http://www.dance.wayne.edu/

 

Detroit Dance Race: artLabJ November 2-3, 2012

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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’

BILLY ELLIOT: THE MUSICAL!

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Billy Elliot: The Musical. Photo credit Kyle Froman

by Julie Gervais

What a bang of a kickoff for the fall theatre season in Detroit! Cheers to the Fisher Theatre for bringing a season opener that really is everything it’s cracked up to be.

The show cooks along at a rapid clip right from the start. Those who have seen the film might take a moment to adjust to the more fantastical take on the story, as the theatrical version sometimes puts the narrative in the backseat so that the music and dancing can drive the show. It works to great effect, as the ten Tony Awards might suggest it would.

There are really two stories, of course: that of Billy and his improbable dream, which ultimately succeeds, and that of the devastating 1984 mineworker’s strike in Northern England, which ultimately fails to achieve its goals. It’s really the shared current of emotion between these two stories that gives the show its extraordinary resonance.

And it does resonate, over and over again. There’s Billy taking perfunctory part in his weekly boxing class, and then suddenly he’s in the midst of a va-voom ballet school number that hints at the joy that will come to him in his life through dance. There he is a rank beginner in the local dancing school, and in the space of a few minutes, he’s standing up straight on one leg for an attitude tour lente, and ripping off piqué tours en manège. And it’s not only believable, it’s highly charged. Elton John’s music makes sure of that.

The big numbers often combine the mineworkers with the children, each magnifying the emotion of the other. The huge (and loud) finale of the first half of the show, after Billy misses his audition and the workers have bad news about their fate, is an extraordinary channeling of raw emotion through music, dance, and stagecraft.

The show is profane and hilarious, and has impeccable timing. The laughs, either from the words or the movement, are delightfully sneaky. It is also beautiful and awesome at times, either with the use of simple devices (Billy sits on his knees, asking his Dad if they can accept the community’s gifts) or by more technical means (Billy gets some extended stay up in the air).

Everyone expects top-notch talent from Broadway touring shows, and they will find it here. But prepare to be knocked out by the kids. Our Billy was Kylend Hetherington (from Auburn, MI), and he carries the show as though it’s a feather on his back. His sidekick Michael, played by Sam Poon on opening night, is an equally formidable talent. It’s not just that these kids can sing and dance at such a high level, but that they seem so casual about it that makes it so extraordinary.

Billy Elliot: The Musical will be at the Fisher Theater through September 16. You owe it to yourself (and to any kid you can find, especially a pre-teen boy) to see what the world is talking about!

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And here are some of the friendly audience members we met at this performance!

Corinne & Kristin, from the Detroit suburbs

 

Michelle, from Detroit

Ann, from the Detroit area

 

Bud

 

 

Nancy, Glen, and Justin, all of Birmingham

Felecia, from Detroit, and Ralph from Birmingham

Craig & Lynn of South Lyon
Rita (L), from Detroit via Ghana, and her friend

Complexions Contemporary Ballet Summer Intensive

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Complexions Contemporary Ballet
Detroit Summer Intensive
Music Hall Center for the Performing Arts

Generously Sponsored by Maggie Allesee

Saturday, July 14, 2012

Maggie Allesee, Sponsor of the Performance, and Meg Paul, Director of the Intensive, join the dancers onstage for congratulations to the raffle winner of a scholarship to next year’s Intensive.

By Julie Gervais

“It’s the original choreography – the exact same as what the Company dances. We didn’t want to dumb it down.”

Right away, you sit up a little straighter in your seat. ‘Really?’ you think. Because if you’ve ever seen Complexions Contemporary Ballet, you know that the choreography is so richly complex, so intricate, and so jam-packed that it’s hard to imagine anyone but seasoned professionals getting a handle on it.

And that’s where your imagination will have failed you.

These kids – some as young as 11, some in their early 20s – accomplished incredible things over the course of two weeks. It’s a tribute to the Complexions artistic staff, of course, but credit should also be given to the clearly strong corps of local schools that prepared these students for the experience. This show wouldn’t have been what it was unless these students were ready to meet the challenge.

The program structure was well-designed. Each student section, grouped into four skill levels, began with staged phrases of class work. This lays it right out: ‘ballet is hard. The exercises take a long time to master, and we have to repeat them thousands of times. But we have to do classical ballet well if we want to do contemporary ballet well.’

It’s not easy to put together a student performance in two weeks. Using the classwork as a base, the faculty set sections of numerous dances on each group. At each level, you see them grappling with the rigid requirements of classical work, and then learning to set their bodies free into looser lines and shapes. Advancing through the ranks, the older and more experienced students show how, bit by bit, this becomes more and more possible. The fascinating thing is the progression. It’s almost like watching a time-lapse video of the human growth pattern / 2nd decade.

And none of this is to say that there wasn’t some fabulous dancing. These kids were fired up! Christina Dooling’s group was first up and set the tone, beginning with their tendu combination and transitioning to a medley of stylish and diverse selections from repertory. One of the most exciting things about Complexions is the enormously broad range of music that they use. Spirituals segue into Dave Brubeck’s Take 5, then on to some rockabilly on the way to the Chopin. It’s kind of a wild ride at times, and the choreography no less so. But this is exactly why this Company is credited with a paradigm shift. They have never accepted the idea of arbitrary boundaries or limits on the use of ballet as a tool for the creation of great art.

The performance was polished to a shine by Complexions’ professional dance faculty, who stepped out on stage to show some of Dwight Rhoden’s choreography at full throttle. For dance students, there is no substitute for close-range study of professionals at the top of their game. Inspirational dance artists all.

Special mention to Adam McGaw, WSU student, who did a beautiful job with a solo by

Alyssa Clark and Sam Horning

Associate Artistic Director Jae Man Joo. The iconic Bach cello suite #1 was well represented. Also to David Sherban, who moves with incredible fluidity and a center of serene calm, and to Sam Horning and Alyssa Clark for some sophisticated pas de deux work. A big shoutout to outstanding soloists in each of the groups whose names are sadly unknown to us now, but who will likely become known as they dance their way up through the local ranks. Look for performance listings on dancepanorama’s calendar, and get out to support your local dance artists in training!

 

 

 

 

 

 

Dance Theatre of Harlem Encourages the Youth of Detroit with a Powerful Dance Intensive

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By: Megan Drabant

The dyeing of shoes, organization of leotards, and perfecting of buns all preceded the first day of Dance Theatre of Harlem’s Detroit Summer Intensive. On June 25th, students who auditioned and were accepted into the program entered the doors of the Detroit Opera House (DOH) with excitement and anticipation of what would be encountered in next three weeks of the intensive. With placement classes concluding the morning of orientation, the 59 students, who range from local Detroiters to students from at least eight other states and Canada, were organized into levels of technique such as Onyx, Bronze, and Amethyst.

Dance Theatre of Harlem (DTH) Summer Intensive challenges students to explore ballet and the allied arts by providing classes in ballet technique, pointe, modern, African, contemporary, jazz, improvisation, creative movement, and nutrition. With five classes a day, students are pushed in an intensive setting to become the best dancers they can be and present what they learn in a culmination performance. “Every class is very serious and everyone focuses on working hard and staying concentrated. The teachers inspire us to strive for success and to find your own individuality within the technique,” said Onyx level student Malika Mowinski.

With faculty consisting of former DTH members and affiliates, the education being received is straight from the heart of Harlem. DTH Detroit Program Artistic Director Kareen Camargo approaches class with the feeling of being “accessible to every student” while pushing them to work hard and have fun at the same time. “I want the students to feel like they are giving 110% rather than feeling like they should have done more. Every class is an opportunity to learn something new, with no regrets leaving class.”

The culminating performance for the intensive is this Friday, July 13th at 6:00pm at the Detroit Opera House, 1526 Broadway, Detroit, MI 48226. This show is free and open to the public and will include performances of ballet, jazz, modern, African, and a lecture demonstration. “Along with witnessing the growth of ballet technique, one will see how the students have found a joy for dancing and an interest in other disciplines of dance,” said Camargo. For more information regarding the performance please call Kim Smith at 313-237-3251.

It is evident that this program is beneficial for the students in attendance, but there are more positive attributes beneath the surface for the support of artistic endeavors in Detroit and abroad. By hosting the DTH Summer Intensive pilot program in Detroit, a unique partnership is in the foundation stages between DTH and DOH. We will see the results of this partnership in the Dance Theatre of Harlem’s touring performance at the DOH in February of 2013. Detroit is fortunate to be on the list of locations for the upcoming performance season, since this is the company’s first touring season in nine years since its closure in 2004. For more information regarding Dance Theatre of Harlem’s upcoming performances check out http://dancetheatreofharlem.org/ or http://www.michiganopera.org/ for specifics on the Detroit performance.

 

 

“Breaking Pointe,” Season 1, Episode 4

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By Debra Schreiber/Pittsburgh

“It’s there last chance to get it right before opening night.”
The last week of studio rehearsals is finally here. “Emeralds,” “Petite Mort,” and “Paquita” are about to grace the stage. Sleep and dance, as Ronnie put it.

The dancers are getting excited.

“It’s what I live for,” Beckanne said.

“I live to perform,” Ronnie said.

Courtesy of Social.entertainment.msn.com

Rex is feeling the pressure – especially with Allison hanging around.

The music director being in the studio only adds to the stress. He needs to figure out the pace and tempos for the ballets based on the dancers’ movements. Allison is not pleased with how the director has been conducting her opening. But, as one of the dancers put it, you don’t want to make the conductor angry.

“I just want to get it right,” Allison said.

The younger dancers are keeping it light and fun, but the older dancers are getting stressed.

Adam is most worried about “Emeralds.” Less rehearsal time has been dedicated to this ballet; but he has great confidence in Christiana as his lead. Allison has Christian’s role in the second cast.

Costume fittings are here this week as well, and boy do they look beautiful. Allison is being ballerinazilla though, aggravated at everything, including the costume fitting.

Photo Credit Erik Ostling

It’s time for Rex and Allison to talk. Rex is confused; he loves Allison, but knows she’s not returning his love. Allison is still getting over her previous relationship and knows she’s not in a place to commit, but feels like she needs Rex. They will always be friends, but will it ever be more than that, neither of them know.

“They both need to focus,” Christiana said. Rex is her partner for second cast in “Paquita.”

“What you thought you were comfortable with in the studio can be your biggest problem on stage,” Christiana said when they started stage rehearsals.

“I always get really nervous,” Adam added. It’s the first time the guys are rehearsing full prop for “Petite Mort” on stage, and having some issues. Tempos are causing problems as well, for both Rex and Allison.

“I’m getting a little tired of her,” Adam said of Allison. He does not think she is being professional. She’s crying and making faces and he can’t take much more of it.
“I have no patience for a bad attitude. Period.”

Next week? It’s time to shine in the spotlight. Tune it at 8/9c to the CW.

Eisenhower Dance Ensemble To Premiere ‘Rite of Spring’, June 16-17 2012

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Laurie Eisenhower

SEE BELOW FOR SPECIAL SNEAK PEEK REHEARSAL VIDEO LINK !

by Julie Gervais

The 19th Annual Great Lakes Chamber Music Festival will present two fully staged performances of Igor Stravinsky’s famous ballet, The Rite of Spring, on June 16 & 17. Laurie Eisenhower, Artistic Director of Eisenhower Dance Ensemble, squeezed in a few minutes with Dancepanorama to tell us about it!

dp: You said that this music has been on your mind for a very long time. When did you know that now would be the time to finally choreograph to it, and how long have you been working on it?

LE: I’ve been listening to Stravinsky’s music over the years, since I started choreographing, and this piece is pretty powerful. I was in NY when the Joffrey revived it and learned a lot about it at that time.

Joffrey Ballet/Rite of Spring

They were reviving the original work and I don’t think there’s any film available, but I think Nijinsky’s sister was alive then, and they were working with notes, and trying to reconstruct it. They worked on it for a couple of years. I also saw Pina Bausch’s version, Martha Graham’s, Paul Taylor’s…but I always liked the music and felt like if I took it on at a very young age that people might feel it was a little arrogant. So I decided to wait a bit. It’s a complex piece of music: mixed meter, and then the meter changes all the time. It’s a difficult piece for dancers to count. I spent over forty hours coming up with my own ‘score’, what I call my ‘dancers’ score’, so we had something to work with. But I had always wanted to tackle the piece; I had an idea for it probably ten years ago and was just waiting for things to kind of come together in order to take it on. Of course I wish I had another two or three weeks, now! But there’s never enough time, and I’m excited about what we have.

dp: After spending so much time with this music, can you say why it might be that something so poorly received at first has become so cherished and exalted?

LE: Well, of course it wasn’t just the music that people had a problem with. The dance was very turned in, very radical and against the ballet tradition. And the subject matter was controversial. And the music is very percussive, and rhythmic in a very odd way.

From a reconstruction of Nijinsky's 'Rite'

So you put all those things together, and people started booing, and it just got out of control. So I can understand the history of that. But the music appeals to me because of the driving force that it has, the percussiveness, the wide range of dynamics. I find all those things very exciting, and I like how it’s complex and has so many shadings. Often these days, I think choreographers are picking music that has a regular 4/4 meter, and it’s easy to have only one dynamic in a piece like that. So it’s nice to work with music that has all sorts of dynamics; it helps inspire the choreography. –> SNEAK PEEK! ‘Rite of Spring’ Rehearsal

dp: The piece has a long lineage. There are iconic movements, poses and shapes that are strongly associated with it. Do these resonate with you while you work?

LE: Well, except for the Paul Taylor version, the other versions I’ve seen have all taken on the original scenario, that of the sacrificial virgin.

Pina Bausch Version

I’ve not done that so it’s been easier to stray from the originals. Also, for the last ten years I’ve purposely not been watching any of the original versions. I didn’t want any of their images in my brain. I think that when you watch other dances, sometimes that choreography can come out subconsciously and I try to avoid that as much as I can.

dp: You have chosen to forge your own path with the storyline, forgoing the tale of maiden ritual sacrifice and instead using a theme of human discovery and innovation. Can you say what led you to this? Were there specific images that the music conjured, and do you depict any of these ideas in a literal way on the stage?

LE: Well, I actually choreographed a dance in 1999 called ‘Rites and Passages’. Many years before that, a choreography teacher had told me that you couldn’t choreograph a dance about the history of the world. And I thought, ‘Well why not?’ So, I did! But I was a younger choreographer at that time, and I liked the concept but later on, felt like I didn’t completely realize it, and I always wanted to go back to it. And then, listening to the ‘Rite of Spring’ music, I thought that I could merge that idea with this music. So it all made sense to evolve those ideas through this music.

dp: And do you think that the teacher was saying that it’s just too broad of a concept?

LE: Yes, and I understood what she was saying, but I think how you approach things is what matters. In a way, I am dealing with the whole history of the world but specifically, with the idea of change – things have transformed our society and how conflicts arise with change.

dp: How many dancers are you working with, and is there more solo/partnering work or more corps work or is it kind of a balance?

LE: There are 10 dancers, and they are mostly working as one tribe. There are some solos and duets. Originally I had wanted 20 dancers but I decided to narrow it down and I’m glad I did. The 10 dancers really fill up the stage and 20 would have been crowded, so I think it worked out well. And we have a set design, and there’s all sorts of props, so there logistical craziness but I think it will be exciting when it all comes together.

dp: Can you name just a few of the things you are most excited about, for this premiere, maybe things that you want to tell the audience to look out for?

LE: Well, for one the music is going to be really incredible. The Pridonoffs, Elisabeth and Eugene, are going to be performing the music with some percussionists, and that will be amazing. I have so many collaborators on this project and I’d like the audience to notice their work too – costumes designed by Monika Essen and executed by Shari Bennett. My lighting designer is Kerro Knox 3 and set design is by Jeremy Barnett. In terms of the choreography, I like the work to speak for itself. I know some people tend to focus on the technique of the dancers, others on the figuring out the story. This is being performed at the Great Lakes Chamber Music Festival, so a lot of the audience will be chamber music fans. Overall, I’m just excited for that moment when an audience sees a piece for the first time. It’s one of the thrills of being a choreographer!
Tickets to see The Rite of Spring on Saturday, June 16 at 8:00 p.m. and Sunday, June 17 at 7:30 p.m. at Seligman Performing Arts Center are $40 and $10 for students (25 and under). Tickets are $5 more at the door. Subscription packages are available. For more information, call 248-559-2095 or visit www.greatlakeschambermusic.org.

Dance Panorama Reviews “Expressions”

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On April 28, 2012, at 8 p.m., Exhalations Dance Theatre wrapped up its spring showcase, titled “Expressions.” This was the third spring showcase for the dance theatre, and the last for its founder Katherine Alexander, who will be moving on to her fifth year of pharmacy school next semester.

Wrote 2012 Exhalations president Lea Fosbenner of the theme “Expressions,” “this was chosen to highlight how the dancers can interpret their emotions through the art of dance.” And express they did.

Exhalations' company opens "Expressions" to "Let Go" by Frou Frou. Choreography Lea Fosbenner/Photo Credit Debra Schreiber.

Opening the show was Exhalations’ company, dancing to “Let Go” by Frou Frou with choreography by Lea Fosbenner. Company members include Alexander, Fosbenner, Brittany Cerimele, Victoria Climo, Sandi Comunale, Felicia Freger, Kali Fronczekk, Carly Fuller, Shaylyn Livingston, Ariel McKeown, Rachel O’Rorke, Brandi Salter and Emily Stokowski. This opening number suited the theme perfectly. During this first piece, and throughout the show, the dancers literally let go; every turn, every jump, every facial expression showed them letting go and using dance to express themselves.

The intermediate class dances to "Express Yourself." Choreography by Brandi Salter/Photo Credit Debra Schreiber.

The second dance of the night, aptly set to “Express Yourself” from the Glee Soundtrack, was performed by the intermediate class, made up of Rachel Bristow, Haley Draper, Stephanie Kuratnick, Kylie McGraw, Bridget McGinty, Stacy Miller, Stephanie Novakowski, Jessica Probst, Hayley Ricy, Jenna Trill and Jennifer Wood, with choreography by Salter.

 

"Nast Boys" performed by the advanced class. Choreography by Victoria Messino/Photo Credit Debra Schreiber.

“Nasty Boys,” music by Janet Jackson and choreography by Victoria Messino, was performed by the advanced class, including Kristen Best, Courtney Caligiuri, Erica Carbaugh, Lauren Curry, Rebecca Ipjian, Kate Iseman, Francine Kusher, Christine Lugaila, Lauren Maha, Christine Sajewski, Kayla Sparkman and Megan Tiernan.

"Fool of Me," choreography by Messino, dancers belong to the advanced class/Photo Credit Debra Schreiber.

The advanced class later took on another Messino piece, “Fool of Me,” music by Me’Shell Ndegeocellob.  Sam Potter executed a series of excellent lifts, and the dancers’ expressions through their movements communicated the sadness of the lyrics in the piece.

Acro to "Hit the Lights." Choreography by Sam Potter/Photo Credit Debra Schreiber

The modern/jazz routines were followed by a snappy acro routine, choreographed by Potter, to “Hit the Lights” by Selena Gomez. The level of acrobatics in this routine was high, and the costumes accentuated the dancers’ moves perfectly. The dancers incorporated in this routine were Messino, Fronczekk, O’Rorke, Rebecca Clayton, Maria Clements, Sandi Comunale and Emiley Duespohl.

Exhalations presents its graduating seniors/Photo Credit Debra Schreiber.

“Expressions” took a break as Alexander took to the stage to present Exhalations’ graduating seniors. 2012’s graduating class included Cerimele, Fosbenner, Messino, Novakowski, Clements, Seth Laidlaw, Cheryl Dusky, Brooke Mulkins, Marla Veschio, Rachel Bristow, and Rebbeca Clayton.

 

The beginners broke onto stage with their number "Grenade." Choreography by Alexander/Photo Credit Debra Schreiber.

 

The beginner's second number, also choreographed by Alexander/Photo Credit Debra Schreiber.

 

The beginners, including Dusky, Bianca Coleman, Miranda Cunningham, Karie Diethorne, Denise Herr, Brooke Jackson, Kristina Logan, Kaitlyn Mellor, Kelsey Vale and Christina Yohe, took to the stage with “Grenade” by Bruno Mars. Alexander choreographed the piece and was incredibly proud of the dedication her beginners showed. Their classes began at 7:30 a.m., but they stuck to it and their dedication certainly showed in this piece. It also showed in their second piece, also choreographed by Alexander and set to “Remind Me Who I Am” by Jason Gray. Besides being well-equipped dance-wise, the beginners also showed what some more experienced dancers tend to forget: passion in their faces. Their expressions could not be clearer.

The ballerina in the music box. Choreography by Potter/Photo Credit Debra Schreiber.

Tutus flew onto the stage for Potter’s acrobatics number to “Music Box” by Regina Spektor. They were gone just as quickly, but their fast-paced number was not one to be overlooked or soon forgotten. It contained very powerful choreography and very powerful dancers. I, for one, would have loved to have seen more.

Duquesne’s Encore Show Choir broke in twice. First, to sing “Love Song” and then again to sing “Beautiful Day.” Their voices were lovely, but I would have loved to have seen more movement from them. Maybe I’ve just been watching too much “Glee.”

Tapping away to Fuller's number/Photo Credit Debra Schreiber.

“Kaboom,” music by Ursula 1000 and choreography by Fuller, was a lively and colorful tap piece. The tappers were well in sync and formed a cohesive group, which included Fuller, Freger, Yohe, Caligiuri and Kelly Folk.

“Power Trip Ballad and Requiem for a Dream” (music by Maria Mena and Clint Mansell) showcased the talents of Messino both as choreographer, and as a soloist.

Messino's solo/Photo Credit Debra Schreiber.

Dancing for joy/Photo Credit Debra Schreiber.

This was a high energy routine that required the strength of all dancers involved, including Potter, Messino, O’Rorke, Comunale, Duespohl, Cerimele and Bristow. While Potter fought for his power trip, he was quickly unplugged by the girls as the swirled around him. Potter made some fantastic lifts, highlighting his strength as a dancer and gymnast. The technique of all the dancers was showcased in this piece, as well as their ability to tap into the darker side of their emotions.

Potter on a power trip/Photo Credit Debra Schreiber.

 

Potter's powerful lift/Photo Credit Debra Schreiber.

Messino ends Potter's power trip/ Choreography by Messino/Photo Credit Debra Schreiber.

Potter is finished/Photo Credit Debra Schreiber.

A powerful routine to hold the audience’s attention right before intermission.

 

"Expressions"/Photo Credit Debra Schreiber.

Expression through movement was the message, and that was never clearer than right after intermission, when only the silhouettes of the dancers were available to the audience.

Performing "The Magic of Us"/Photo Credit Debra Schreiber.

 

Choreography by Lea Fosbenner/Photo Credit Debra Schreiber.

Seth Laidlaw in "The Magic of Us"/Photo Credit Debra Schreiber.

“The Magic of Us,” music by Bim and The Section Quartet, choreography by Fosbenner, showcased the talents of Salter, Fronczekk, Alexander, Fosbenner and Laidlaw. This was another heavily technical modern number.

Choreography for "Sweeping Insensitivity" by Alexander/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" One/Photo Credit Debra Schreiber.

"Sweeping Insensitivity" Two/Photo Credit Debra Schreiber

The dancing was silhouetted again when Fosbenner, Alexander, Climo, Laidlaw, Freger, Fuller, Stokowski, Fronczekk and Livingston gracefully brushed the stage to choreography by Alexander and music by Imogen Heap, Never Shout Never, and Mumford and Sons, “Sweeping Insensitivity.”

Sparkman's hip-hop number "Dizzy"/Photo Credit Debra Schreiber.

Hip-hop was brought in by Sparkman and her class, including Comunale, Kusher, Carbaugh, Coleman, Cunningham, McGinty, Miller,  Mulkins, Dara Stockdell ,Trill, Audra Joseph and Lisa Master. Music was”Dizzy” by Day 26. Hip-hop is hard to feel, especially if you are a ballet-trained dancer, and it was evident that some of the dancers in this number where trying to break free from technique so they could express themselves through unstructured movement.

Batons spinning to the sky to "Man! I Feel Like a Woman!" Choreography by Yohe/Photo Credit Debra Schreiber.

“Man! I Feel Like a Woman!” by Shania Twain was used by the baton class, including Yohe, Veschio, Herr, Mellor, Patty Camarda, Alexis Ellis, Jenna Lowrey, Carley Risley and Brittany Yu. Yohe choreographed this piece, and batons flew high, with some batonists twirling more than one.

Salter's number "Rock Your Soul" with the intermediate class/Photo Credit Debra Schreiber.

Salter had her number “Rock Your Soul” by Elisa do just that with the intermediate class. These girls are learning fast; their technique is growing, but it was their movement and emotional connection with the audience that really made the piece draw you in.

These girls just want to "Settle Down"/Photo Credit Debra Schreiber.

Chorepgraphy by Fuller/Photo Credit Debra Schreiber.

“Settle Down,” music by Kimbra and choreography by Fuller, was my favorite piece of the evening. It was modern, sexy and quirky, and incorporated dancers with incredible technique and theatrics: Fuller, Salter, Cerimele, Livingston and Freger. The girls took on the idea of the old-fashioned wife and quickly flipped it on its head, whipping their aprons off and dancing with pizzazz.

These dancers "Gotcha"!/Photo Credit Debra Schreiber.

“Gotcha” was a trio choreographed by Messino, with music by Liza Minelli. Messino, Comunale and O’Rorke were sassy and sizzling in this number slightly reminiscent of “Cell Block Tango” from “Chicago.”

Dancers move and groove through the audience during their finale. Choreography by Sparkman/Photo Credit Debra Schreiber.

No one saw what was coming when the dancers came out to take their final bows – and then rush the audience to music by Fun Ft. Janelle Monae (Alvin Risk Remix) and choreography by Sparkman. Dancers took the floor and aisles as they danced their hearts out one last time before the curtain came down and another season with Exhalations Dance Theatre came to a close.

Bravo, Exhalations!/Photo Credit Debra Schreiber.