Tonight I enjoyed an easy drive into Los Angeles to the Diavolo performance space to see the evening performance in the Awakenings & Beginning Dance Festival 2014, produced by Rubans Rouges Dance Company. The audience was willingly packed in the small space to see some of the top contemporary dance groups perform their work.
The show opened with a visually elegant work entitled Phoenix, by Michael Nickerson Rossi of Nickerson Rossi Dance. This ensemble piece included sweeping port de bras, as the dancers adeptly moved through the space with turns, extensions, floor work and more. The imagery of flying surfaced at times throughout the dance which included well crafted and technically demanding modern dance phrases performed by beautiful movers. The performance possessed a hypnotic quality as the dancers organized and reorganized in various pairings and designs in the space sometimes feeling like one bird sometimes feeling like many.
The second piece in the show, Winterreise, was a classically based pas de deux choreographed by Judith FLEX Helle of Luminario Ballet. It was so refreshing to see the simplicity of the classical ballet line included in this show. Both performers were excellently trained with solid technique and a convincing ballet demeanor. I was pleased with the German title (Winterreise means Winter Trip), because it allowed me additional insight into the narrative of the danseur who slowly goes insane over a lost love. The shining moment of this work existed in the first few moments in which the ballerina was lifted and turned as she gestured with her leg in perfect timing to the musical phrasing. Such manifestations of the music are gems for the audience member.
The first act of the show closed with a piece choreographed by Deborah Brockus of Brockus Project Dance: RED. Excerpted from an evening length work, Quest, this selection was titled Famine Solos and was beautifully performed by three dynamically different females who were deeply connected and passionately invested in the narrative of moving on from the pain of loss, grief and war. The variety in the selection of performers had a profound effect on the nature of the work, one was young and played her part with both sensuality and ferocity. The second soloist embodied a maturity in her opening moments of emotional collapse before she powerfully moved through the space. The last soloist had a quieter essence, that resided in her stable presence.
Act two opened with Noelle Andressen's company, Rubans Rouges Dance Company. This was also a short series of dances excerpted from a larger work about her battle with cancer, Let This Be My Last Battleground. I had seen the original solo, STORM, last year and was interested to see the next stages of the story being told. With a brand new set of company members, the work is representative of the continual growth seen in Andressen's work. The intermittent video projections included photos of other cancers survivors as well as cancer victims and added a reality to this social issue that has or will effect each and every one of us in some way.
Ken Morris presented a sweet duet, Conflict/Resolved, in which these young lovers experience their first fight, but manage to resolved their differences as they find each other rhythm and mutual balance. The rhythm driven music was a refreshing shift from the more minimalist scores of the former pieces. In addition, the West African, Samba and playful club-dance vocabulary changed the tone of the evening at just the right point. The audience was able to laugh at the couple's follies and smile at their reunion.
The final work of the evening was Waiting at Home for the Witches, by Invertigo Dance's Laura Karlin (in collaboration with dancers). These powerhouse male performers stole the show! Zsolt Banki, Chris Smith and Cody Wilbourn, jumped, rolled, floated, lifted and inverted their way into the hearts of the audience with this dance theater work inspired by the opening scene of Macbeth that answers the question: What toil and trouble is going on at home with the husbands of Machbeth's Weird Sisters? The humor of the work was balanced with the sheer brilliance of the dancers' technical and dramatic performance. The audience participation and beer bottled were just added bonuses to the satisfaction found in the piece due to Karlin's intelligent craftsmanship of this dance.
I overheard an audience member say (and I paraphrase) "There is a ton of great dance going on in LA this weekend." And, she was absolutely right. A sold out performance such as this should inspire you to get out an see what is available in the upcoming weeks. Discover the work that moves you and then do all you can to support it! Our LA dance community has everything to make a concert dance scene a real part of LA culture. Now, we just need to make it happen, together, as a community.
Did you see the show? Share your thoughts in the comment box below.
Showing posts with label LA dance. Show all posts
Showing posts with label LA dance. Show all posts
Saturday, February 1, 2014
Sunday, November 3, 2013
Review: Pennington Dance Group presents BLOW
Last evening I attended a lovely modern dance performance at A Room to Create (ARC) in Pasadena. This studio/performance space is owned and run by John Pennington and home to Pennington Dance Group. The show was sold out, with patrons eagerly waiting to see if additional seating would become available. Pennington means a lot to the LA dance community, not only because of his beautiful dance space, but because of his openhearted and supportive energy for many modern dance companies in the area. The warmth of the audience emphasized just how beloved Pennington is.
The show opened with a reworked quintet from 2005, entitled OUT OF, choreographed by Pennington. The five dancers dressed in all white and moved through the space in sweeping patterns that balanced an ethereal quality of beauty with a grounded earth energy. Pennington tied these dynamics together in stunning designs through space that covered the entirety of the performance space with grace and ease. The piece also incorporated five floor length banners by artist Susan Rankaitis. These seemingly Japanese inspired panels, set the stage for some of the more Asian stylings in Pennington's choreography.
The show continued with three pieces performed and choreographed by PDG company members. Tomas Tsai performed his B-boy-meets-dance-theater solo, MEAN. Li Rothermich performed with Travis Richardson in her impressive and almost acrobatic duet, ECLIPSE. And, Michael Szanyi captured the audience with his larger than life solo, DESCENT. This last piece was particularly interesting for its use of theatrical design.
Szanyi stood perched on a box, dressed in a deep red taffeta skirt that cascaded from his corsetted waist down to the floor where it spilled out in all directions. Set to a piano score by Rachmaninov, Szanyi performed facing upstage the entire time, staying perched in the air as he gestured with his torso and arms in slow, sustained time, never breaking the spell of the piece. The play of the light on his back and the fleeting glimpses of his profile added to the mystery and magic of the piece. The moment in which he reached out with a pointed finger reminded me of Michaelanglo's Sistine Chapel in which Adam is created by the touch of God. This imagery added a huge layer of meaning in the work, as it immediately opened the door for questioning the nature of man, and more specifically of a gay man, as he stands larger than life, perched on a pedestal in his blood red skirt reaching for the finger of God.
After intermission, Pennington premiered his newest work, BLOW. This piece opened with the company of eight dancers exhaling and blowing out in all manners possible: sighing, lip buzzing, shushing, whistling, coughing. The ridiculousness of this situation added a quirky levity to the show that had not yet been incorporated and was refreshing for the audience who now had a chance to laugh. The opening scene moved into a series of duets, in which the dancers manipulated each other with their breath, inhaling to suck them in and exhaling to send them away. Each couple was unique and playful, moving through the space in unpredictable bursts. These duets ended with the dancers moving to the walls of the space which were covered in sound-proofing material (black egg crate foam), and against which the duets could interact by pressing and climbing the wall with the help of their partner. This offered a rich visual experience for the audience who could look between the duets and the four different areas on the wall to choose which moment was interesting and which drew their attention. However, it was at this point in the work that the connection to the idea of BLOW became muddy. Nevertheless, the duets were a visual feast as the dancers related to each other with a variety of emotions including suspicion, aggression, play, and curiosity.
As most of the dancers exited the space, two men were left to perform a duet that was sensitive, patient, and powerful. The dancers moved through the space with speed and agility that was never forced or awkward. These dancers floated through the huge performance space, covering ground in a way that was extremely satisfying for the viewer. The immediacy of the duet was palpable for the audience, and yet, the design and precision of the movement was never lost. Pennington clearly has a way for creating movement that is exuberant, free and visually stimulating.
The piece then took an unexpected turn, when out of the sensitive moment, in walked Li Chang Rothermich in high platform heels, a pencil skirt, blouse, sunglasses and red designer bag. It was immediately evident that this woman owned the stage. Her presence just standing on the stage and looking outward was riveting. Her put-together affectations contrasted the somewhat disheveled young man in the suit with awkwardly short pants and sneakers who occupied the other side of the stage. The energetic and qualitative differences between this well-kept women and gangly young man made for a strange and laughable comparison.
But, nothing compared to the next choreographic moment in which two young men dueled with leaf blowers. Yes! My life in now complete! This outright, obvious interpretation of BLOW was nothing short of hysterical and spectacular. This quirky moment (like the opening) is where the heart of the piece really lies. Smart and funny.
The piece closed with all eight dancers in black recreating the sensation of being blown across the stage in waves of arm gestures and running patterns that transformed the space into a kinetic playground. The strongest moment came near the end during which the dancers lined up across the length of the performance space and moved upstage and downstage in gusts of action that reminded me of the unpredictable and immense power of the Santa Ana winds we know so well here in Los Angeles.
Overall the evening of dance was a notable success. The audience was extremely receptive and gracious. The dancers' chemistry as a whole made clear that they enjoy performing together as a company. Another special aspect of the performance was original music scores for the majority of the works. Edgar Rothermich and Tom Peters each provided scores for this performance. In addition, as a dancer watching this performance there was something extremely satisfying. Pennington's movement looks like it feels good to dance. The traveling through space, the smart designs in the use of gesture, and the luxurious and graciousness of the movement quality all add to the kinesthetic appeal of the performance. I know Pennington offers weekly class, and after seeing the show tonight, I am tempted to make the drive to Pasadena!
The show opened with a reworked quintet from 2005, entitled OUT OF, choreographed by Pennington. The five dancers dressed in all white and moved through the space in sweeping patterns that balanced an ethereal quality of beauty with a grounded earth energy. Pennington tied these dynamics together in stunning designs through space that covered the entirety of the performance space with grace and ease. The piece also incorporated five floor length banners by artist Susan Rankaitis. These seemingly Japanese inspired panels, set the stage for some of the more Asian stylings in Pennington's choreography.
The show continued with three pieces performed and choreographed by PDG company members. Tomas Tsai performed his B-boy-meets-dance-theater solo, MEAN. Li Rothermich performed with Travis Richardson in her impressive and almost acrobatic duet, ECLIPSE. And, Michael Szanyi captured the audience with his larger than life solo, DESCENT. This last piece was particularly interesting for its use of theatrical design.
Szanyi stood perched on a box, dressed in a deep red taffeta skirt that cascaded from his corsetted waist down to the floor where it spilled out in all directions. Set to a piano score by Rachmaninov, Szanyi performed facing upstage the entire time, staying perched in the air as he gestured with his torso and arms in slow, sustained time, never breaking the spell of the piece. The play of the light on his back and the fleeting glimpses of his profile added to the mystery and magic of the piece. The moment in which he reached out with a pointed finger reminded me of Michaelanglo's Sistine Chapel in which Adam is created by the touch of God. This imagery added a huge layer of meaning in the work, as it immediately opened the door for questioning the nature of man, and more specifically of a gay man, as he stands larger than life, perched on a pedestal in his blood red skirt reaching for the finger of God.
After intermission, Pennington premiered his newest work, BLOW. This piece opened with the company of eight dancers exhaling and blowing out in all manners possible: sighing, lip buzzing, shushing, whistling, coughing. The ridiculousness of this situation added a quirky levity to the show that had not yet been incorporated and was refreshing for the audience who now had a chance to laugh. The opening scene moved into a series of duets, in which the dancers manipulated each other with their breath, inhaling to suck them in and exhaling to send them away. Each couple was unique and playful, moving through the space in unpredictable bursts. These duets ended with the dancers moving to the walls of the space which were covered in sound-proofing material (black egg crate foam), and against which the duets could interact by pressing and climbing the wall with the help of their partner. This offered a rich visual experience for the audience who could look between the duets and the four different areas on the wall to choose which moment was interesting and which drew their attention. However, it was at this point in the work that the connection to the idea of BLOW became muddy. Nevertheless, the duets were a visual feast as the dancers related to each other with a variety of emotions including suspicion, aggression, play, and curiosity.
As most of the dancers exited the space, two men were left to perform a duet that was sensitive, patient, and powerful. The dancers moved through the space with speed and agility that was never forced or awkward. These dancers floated through the huge performance space, covering ground in a way that was extremely satisfying for the viewer. The immediacy of the duet was palpable for the audience, and yet, the design and precision of the movement was never lost. Pennington clearly has a way for creating movement that is exuberant, free and visually stimulating.
The piece then took an unexpected turn, when out of the sensitive moment, in walked Li Chang Rothermich in high platform heels, a pencil skirt, blouse, sunglasses and red designer bag. It was immediately evident that this woman owned the stage. Her presence just standing on the stage and looking outward was riveting. Her put-together affectations contrasted the somewhat disheveled young man in the suit with awkwardly short pants and sneakers who occupied the other side of the stage. The energetic and qualitative differences between this well-kept women and gangly young man made for a strange and laughable comparison.
But, nothing compared to the next choreographic moment in which two young men dueled with leaf blowers. Yes! My life in now complete! This outright, obvious interpretation of BLOW was nothing short of hysterical and spectacular. This quirky moment (like the opening) is where the heart of the piece really lies. Smart and funny.
The piece closed with all eight dancers in black recreating the sensation of being blown across the stage in waves of arm gestures and running patterns that transformed the space into a kinetic playground. The strongest moment came near the end during which the dancers lined up across the length of the performance space and moved upstage and downstage in gusts of action that reminded me of the unpredictable and immense power of the Santa Ana winds we know so well here in Los Angeles.
Overall the evening of dance was a notable success. The audience was extremely receptive and gracious. The dancers' chemistry as a whole made clear that they enjoy performing together as a company. Another special aspect of the performance was original music scores for the majority of the works. Edgar Rothermich and Tom Peters each provided scores for this performance. In addition, as a dancer watching this performance there was something extremely satisfying. Pennington's movement looks like it feels good to dance. The traveling through space, the smart designs in the use of gesture, and the luxurious and graciousness of the movement quality all add to the kinesthetic appeal of the performance. I know Pennington offers weekly class, and after seeing the show tonight, I am tempted to make the drive to Pasadena!
Friday, September 13, 2013
SoleVita Dance Company: MoveMeant (A Review)
Joelle Martinec presented a stellar evening of dance at the Madrid Theater in Canoga Park, entitled MoveMeant. Martinec's company, SoleVita, consists of excellently trained dancers who perform with both conviction and accuracy. The style of the evening can loosely be described as Contemporary Jazz, but distinct flavors existed in each piece creating diversity and entertainment for the duration of the show. If you love high energy, accessible dance performed by a cast of beautiful bodies, SoleVita's MoveMeant is for you. The program was a little tricky to follow in terms of how the dances were grouped and titled into themed sections (for MoveMeant) and stand alone pieces. This left me a little confused on how to connect the pieces under the larger MoveMeant umbrella title, But, I will do my best to describe a few highlights from this premier event:
Develop featured a potent strobe light representing a camera flash in this study of human shape, line and stopped motion. The strobe effect is something David Parsons perfected in his solo work Caught from the 1980's. Martinec's take on the strobe played with combinations of bodies in space, sometimes unified, sometimes divergent. The second portion of Develop, entitled Fixer to Frame, investigated the idea of an ever emerging composition of dancers in space. The bodies wrapped and slid among and through each other before pulsing through the space in rhythmic flow. The red lighting referenced a dark room as the picture emerged through the course of the dance.
Martinec took some time to comment on the various forms of romantic love in her piece All Included. The three part piece started with a classic tale of boy meets girl. It begins with a series of comic mishaps, head bonks, accidental slaps in the face, and untimely attempts to connect, before they manage to settle in, find each others rhythm, and fall in love. The second part, Near Light, performed by Andrew Boyd Bechtold and Jeremy Thompson was a moving duet telling the intimate story of gay love. This duet was well danced and emotionally honest in a way that separated itas unique from the rest of the largely playful program. The romance was so convincing that it was hard for me to later see these men as heterosexuals in later pieces in which they assumed the more traditional role of heterosexual male. Part three was a fanciful and well costumed piece performed by six females dressed in half of a men's suit and half of a white gown (very Victor/Victoria). This playful commentary on gender and sexuality was particularly exciting from a visual standpoint as the dancers switched sides (and roles) throughout the puzzle of a dance.
The Walk West was another multi-section portion of MoveMeant, but this time set with a very theatrical feel of 1800's American pioneers. The first part refreshed the audience with the absence of a soundtrack or music. The slow traveling of the cast members across the stage was a well crafted visual for the context of the piece. The second part, called Homestead, was the section that worked least for me in that the more conservative and gestural style of the first section gave way to some incongruent jazz styling that didn't fit for me in this early American pioneer context. However, part three, Revealed, brought me back into the historical time and place with circle barn dances that were just plain fun. Part four, BrotherHood, was the real crown pleaser. Performed by four men, this piece was powerful, aggressive, and visually exciting. I began with a conflict between two men, and I didn't catch the resolve of conflict between two of the characters, but the piece as a whole, including horse galloping, rope throwing, and all manner of jumps and turns was a joy to watch and the audience showed its approval in rousing applause.
The show closed with Finalize This which took MoveMeant back to the home of jazz dance with its mix of cabaret, burlesque, comedy and commercial dance. In the piece entitled Is it?, I appreciated that these beautiful women were willing to make fun of themselves and the sexuality of the classic chair dance/ strip tease. In part two, Courtney Ozovek, played it straight and sexy in her high heeled solo pirtS. The show closed with what these dancers do best, fast paced, perfectly timed, hot commercial jazz. Men showing force in suits and ties and ladies sparkling in silver dresses, Whew! is appropriately titled. These dancers have the stamina that is required for a life of a professional dancer. High kicking, turning, and leaping right through to the end of the show, Finalize This was a an opportunity for these excellent dancer to show off their incredible skills and deep down love for dancing.
The show featured other works (outside of the MoveMeant theme), including an exquisitely performed solo by the captivating and spellbinding Amber Dupuy, a solemn ensemble piece choreographed by company member Chelsea Mischner, and a texture rich work featuring Kara Hess. Overall, this show is worth your time and the ticket price. Worth more actually. When talking about the entertainment factor in dance: Martinec delivers. This is a show that will make dancers want to get up and dance and dance fans leaving fully satisfied.
You have one more chance to catch the show Saturday at 8pm at the Madrid Theater. There is no reason this show shouldn't sell out, so get your tickets now before it is too late. You will be thoroughly entertained.
Did you see the show? Share your comments below!
Beth
For a past review of SoleVite that I year (featuring Modern Communication and 2). Click here.
Develop featured a potent strobe light representing a camera flash in this study of human shape, line and stopped motion. The strobe effect is something David Parsons perfected in his solo work Caught from the 1980's. Martinec's take on the strobe played with combinations of bodies in space, sometimes unified, sometimes divergent. The second portion of Develop, entitled Fixer to Frame, investigated the idea of an ever emerging composition of dancers in space. The bodies wrapped and slid among and through each other before pulsing through the space in rhythmic flow. The red lighting referenced a dark room as the picture emerged through the course of the dance.
Martinec took some time to comment on the various forms of romantic love in her piece All Included. The three part piece started with a classic tale of boy meets girl. It begins with a series of comic mishaps, head bonks, accidental slaps in the face, and untimely attempts to connect, before they manage to settle in, find each others rhythm, and fall in love. The second part, Near Light, performed by Andrew Boyd Bechtold and Jeremy Thompson was a moving duet telling the intimate story of gay love. This duet was well danced and emotionally honest in a way that separated itas unique from the rest of the largely playful program. The romance was so convincing that it was hard for me to later see these men as heterosexuals in later pieces in which they assumed the more traditional role of heterosexual male. Part three was a fanciful and well costumed piece performed by six females dressed in half of a men's suit and half of a white gown (very Victor/Victoria). This playful commentary on gender and sexuality was particularly exciting from a visual standpoint as the dancers switched sides (and roles) throughout the puzzle of a dance.
The Walk West was another multi-section portion of MoveMeant, but this time set with a very theatrical feel of 1800's American pioneers. The first part refreshed the audience with the absence of a soundtrack or music. The slow traveling of the cast members across the stage was a well crafted visual for the context of the piece. The second part, called Homestead, was the section that worked least for me in that the more conservative and gestural style of the first section gave way to some incongruent jazz styling that didn't fit for me in this early American pioneer context. However, part three, Revealed, brought me back into the historical time and place with circle barn dances that were just plain fun. Part four, BrotherHood, was the real crown pleaser. Performed by four men, this piece was powerful, aggressive, and visually exciting. I began with a conflict between two men, and I didn't catch the resolve of conflict between two of the characters, but the piece as a whole, including horse galloping, rope throwing, and all manner of jumps and turns was a joy to watch and the audience showed its approval in rousing applause.
The show closed with Finalize This which took MoveMeant back to the home of jazz dance with its mix of cabaret, burlesque, comedy and commercial dance. In the piece entitled Is it?, I appreciated that these beautiful women were willing to make fun of themselves and the sexuality of the classic chair dance/ strip tease. In part two, Courtney Ozovek, played it straight and sexy in her high heeled solo pirtS. The show closed with what these dancers do best, fast paced, perfectly timed, hot commercial jazz. Men showing force in suits and ties and ladies sparkling in silver dresses, Whew! is appropriately titled. These dancers have the stamina that is required for a life of a professional dancer. High kicking, turning, and leaping right through to the end of the show, Finalize This was a an opportunity for these excellent dancer to show off their incredible skills and deep down love for dancing.
The show featured other works (outside of the MoveMeant theme), including an exquisitely performed solo by the captivating and spellbinding Amber Dupuy, a solemn ensemble piece choreographed by company member Chelsea Mischner, and a texture rich work featuring Kara Hess. Overall, this show is worth your time and the ticket price. Worth more actually. When talking about the entertainment factor in dance: Martinec delivers. This is a show that will make dancers want to get up and dance and dance fans leaving fully satisfied.
You have one more chance to catch the show Saturday at 8pm at the Madrid Theater. There is no reason this show shouldn't sell out, so get your tickets now before it is too late. You will be thoroughly entertained.
Did you see the show? Share your comments below!
Beth
For a past review of SoleVite that I year (featuring Modern Communication and 2). Click here.
Sunday, August 25, 2013
7th Annual MixMatch Dance Festival Rundown
I started to review dance shows one year ago when I wrote about the 6th annual MixMatch Dance Festival hosted by HartPulse Dance Company. I didn't know at the time that I would keep writing about shows over the course of the year and in the meantime fall in love with dance writing. You might be interested to know that I am not paid to write any of this. I first started writing because I wanted to support dance; and, until we get a stronger written cannon about the concert dance in the LA area, I believe we will continue to float along under the public radar. So, I started writing and a year later here I am having just danced in the MixMatch festival and written another article in support of the fantastic dance that took place.
The MixMatch Dance Festival is an open and inclusive dance festival featuring 8 dance styles, 50 choreographers and 70 different dances. This year it grew to include 5 performances in one weekend, each completely different. While I wasn't able to attend all 5 shows, I was able to make it to 3 and wanted to share at least a bit of what I enjoyed as part of the festival. I wish I had time to write about each piece because, every dance had something unique to offer to the diversity of ideas and styles in the festival. But, considering that I am back in dance class tomorrow at 8 am, I have chosen to cover just a few of the pieces that stood out for me in the shows I saw.
"Spirit of Intention" choreographed by Bay Area dance artist, Anandha Ray and dancers, was a stunning solo performed by Laura Rae Bernasconi. This fusion of tribal Middle Eastern and modern dance, was unlike anything else in the festival. The highly stylized and purposeful movement was performed with intensity and honesty. Bernasconi is a commanding performer, bearing her soul to the audience without hesitation through each precisely design gesture. The final roaring exhale evoked a feminine power reminiscent of the goddess Kali herself.
Friday evening, Anne C. Moore presented a female quartet, entitled "i always choose to misremember." This contemporary modern work was a feast for the eyes. The dynamism in the choreography and fluid performance by the dancers mesmerized the audience. This is an example of a movement driven dance success. While the title hints at a loosely thematic narrative, the power of the piece existed for me in the dancers' ability to engage the audience through the physical and emotional, execution of the rich choreography.
CJ Edwards charmed the audience with his all male hip hop, "The Quest." These dancers were all very different in physical appliance, yet they had excellent unison in all aspects of space, time and energy. The circle moment, in which a few of the dancers came to the center to shine in their own way, reminded the audience of the vernacular heritage of hip hop and bridged the gap between social and performance in an easy and effortless way.
The Saturday matinee included, "Fearing the Unkown," choreographed by Mariana Olivera. I had recently seen this piece in the SB ADaPT festival this summer, but seeing it again was an opportunity for me to take note and appreciate the physical risk involved in much of the choreography. Olivera punctuated the choreography with high risk partnering, including falls, catches and throws that left this audience gasping out loud. This performance communicated the feeling of helplessness felt by the dancers as they submitted their body weight to each other.
Misa and Stephen Kelly performed their charming and heart warming duet, "Recall is Never Replay." If you have not seen Misa and Stephen on stage, you should! This husband and wife duet is quirky and thoughtful, nonsensical and endearing. The movement and choreographic structure was non traditional, including gestural phrases set to spoken text that seemed related only by chance at times, but it also felt entirely appropriate. The ending, in which the two slowly entwine in a reclined embrace, wraps up the dada-like piece with a string that can't be explained in words and can only be felt in the gut.
The closing Sunday matinee featured many strong choreographic works, including Tawny Chapman, Artistic director of Leverage Dance. Chapman presented two distinctly different works. The first, entitled, "Window of Opportunity (Excerpts)," was a modern dance, task-oriented piece performed by nine young dancers in a grid of nine boxes. The dancers moved through the grid as if in a game, springing, turning, and sliding between the the boxes. This piece created a strong sense of geometry, which the dancers embodied effectively in their mature performance. The second piece in contrast was entitled The Bitter Earth" and communicated a different tone, although it was performed by many of the same dancers. This contemporary modern piece was deeply emotional and exquisitely performed by the young women.
Nicole Olsen, choreographed and performed an empowered solo, entitled "Nude." As the title suggests, the theme of revealing became apparent when Olsen first discarded her sweater. The piece balanced strength and control with freedom and release. The release and athletic flow became increasingly present as Olsen shed the layers of her conservative skirt, blouse and tank top, leading the audience up to the moment of ultimate power as she walked upstage taking off her final layer.
Ashleigh Doede of Nancy Evans Dance Theater presented an excerpt of "Adhere Until. . ." Another audience member said of this piece, "These are the dancers you dream of growing up to be." I have reviewed NEDT before, and as always this performance was technically exquisite and emotionally powerful. The dancers perform very difficult phrases with a subtle ease that I fear can be missed by an untrained eye. This particular piece by three women exemplified the solid musicality and physical training that has come to be the thumbprint of NEDT.
"Strings," choreographed and performed by Chihiro Kodama, was a jazz-hip hop-capoeira fusion that was refreshing and playful. Kodama's choreography and performance integrity rests on his ability to physicalize the music with an intensity and accuracy that is not always seen in contemporary choreography. His vernacular based movement vocabulary is detailed and precise as well as fun and celebrational.
Reject Dance Theater presented a few different works over the course of the festival, but I have chosen to speak about Sunday's performance of "Molt" because of the sheer quirkiness of it! The featured "bird" dancer was a joy to watch in this piece. Her refined movement fit with the proud stance of her bird character. The other dancers, dressed in fur vests and coats, contrasted the lightness of the bird, with their heavy and loose movement vocabulary. The motif of the hip slap into what I saw as folded bird wings was so strong for me that I know this piece will resonate with me for a while still.
Festival director, Amanda Hart closed the festival with a duet entitled "Forever." This sweet choreography is characteristic of the strong jazz based choreography (especially male-female partnering) that I have come to expect of Hart's work. These dancers seemed to authentically enjoy dancing with each other. They were soft and gentle with each other and told the story of falling in love with a conviction that melted the audience.
Overall the festival was a huge success!
The Southern Califronia dance community is gaining momentum, with festivals such as MixMatch, ADaPT and Celebrate Dance. And, the opportunity for choreographers of all genres and backgrounds is greater than ever. Now is the time to join in the movement and go out to see more dance in your local community. Take the risk and discover the hidden treasures in your own backyard.
Did you see the show?
What did you think?
Did you love a dance I didn't mention? (I am sure you did!) Share it here!
Your comments help support dance in LA and Nationwide!
Beth
If you are interested in reading up on Last Years MixMatch click here:
Also, if you are interested in seeing one of the dance works presented by Megill & Company for this festival, click here.
Stop. Listen. Dance.
The MixMatch Dance Festival is an open and inclusive dance festival featuring 8 dance styles, 50 choreographers and 70 different dances. This year it grew to include 5 performances in one weekend, each completely different. While I wasn't able to attend all 5 shows, I was able to make it to 3 and wanted to share at least a bit of what I enjoyed as part of the festival. I wish I had time to write about each piece because, every dance had something unique to offer to the diversity of ideas and styles in the festival. But, considering that I am back in dance class tomorrow at 8 am, I have chosen to cover just a few of the pieces that stood out for me in the shows I saw.
"Spirit of Intention" choreographed by Bay Area dance artist, Anandha Ray and dancers, was a stunning solo performed by Laura Rae Bernasconi. This fusion of tribal Middle Eastern and modern dance, was unlike anything else in the festival. The highly stylized and purposeful movement was performed with intensity and honesty. Bernasconi is a commanding performer, bearing her soul to the audience without hesitation through each precisely design gesture. The final roaring exhale evoked a feminine power reminiscent of the goddess Kali herself.
Friday evening, Anne C. Moore presented a female quartet, entitled "i always choose to misremember." This contemporary modern work was a feast for the eyes. The dynamism in the choreography and fluid performance by the dancers mesmerized the audience. This is an example of a movement driven dance success. While the title hints at a loosely thematic narrative, the power of the piece existed for me in the dancers' ability to engage the audience through the physical and emotional, execution of the rich choreography.
CJ Edwards charmed the audience with his all male hip hop, "The Quest." These dancers were all very different in physical appliance, yet they had excellent unison in all aspects of space, time and energy. The circle moment, in which a few of the dancers came to the center to shine in their own way, reminded the audience of the vernacular heritage of hip hop and bridged the gap between social and performance in an easy and effortless way.
The Saturday matinee included, "Fearing the Unkown," choreographed by Mariana Olivera. I had recently seen this piece in the SB ADaPT festival this summer, but seeing it again was an opportunity for me to take note and appreciate the physical risk involved in much of the choreography. Olivera punctuated the choreography with high risk partnering, including falls, catches and throws that left this audience gasping out loud. This performance communicated the feeling of helplessness felt by the dancers as they submitted their body weight to each other.
Misa and Stephen Kelly performed their charming and heart warming duet, "Recall is Never Replay." If you have not seen Misa and Stephen on stage, you should! This husband and wife duet is quirky and thoughtful, nonsensical and endearing. The movement and choreographic structure was non traditional, including gestural phrases set to spoken text that seemed related only by chance at times, but it also felt entirely appropriate. The ending, in which the two slowly entwine in a reclined embrace, wraps up the dada-like piece with a string that can't be explained in words and can only be felt in the gut.
The closing Sunday matinee featured many strong choreographic works, including Tawny Chapman, Artistic director of Leverage Dance. Chapman presented two distinctly different works. The first, entitled, "Window of Opportunity (Excerpts)," was a modern dance, task-oriented piece performed by nine young dancers in a grid of nine boxes. The dancers moved through the grid as if in a game, springing, turning, and sliding between the the boxes. This piece created a strong sense of geometry, which the dancers embodied effectively in their mature performance. The second piece in contrast was entitled The Bitter Earth" and communicated a different tone, although it was performed by many of the same dancers. This contemporary modern piece was deeply emotional and exquisitely performed by the young women.
Nicole Olsen, choreographed and performed an empowered solo, entitled "Nude." As the title suggests, the theme of revealing became apparent when Olsen first discarded her sweater. The piece balanced strength and control with freedom and release. The release and athletic flow became increasingly present as Olsen shed the layers of her conservative skirt, blouse and tank top, leading the audience up to the moment of ultimate power as she walked upstage taking off her final layer.
Ashleigh Doede of Nancy Evans Dance Theater presented an excerpt of "Adhere Until. . ." Another audience member said of this piece, "These are the dancers you dream of growing up to be." I have reviewed NEDT before, and as always this performance was technically exquisite and emotionally powerful. The dancers perform very difficult phrases with a subtle ease that I fear can be missed by an untrained eye. This particular piece by three women exemplified the solid musicality and physical training that has come to be the thumbprint of NEDT.
"Strings," choreographed and performed by Chihiro Kodama, was a jazz-hip hop-capoeira fusion that was refreshing and playful. Kodama's choreography and performance integrity rests on his ability to physicalize the music with an intensity and accuracy that is not always seen in contemporary choreography. His vernacular based movement vocabulary is detailed and precise as well as fun and celebrational.
Reject Dance Theater presented a few different works over the course of the festival, but I have chosen to speak about Sunday's performance of "Molt" because of the sheer quirkiness of it! The featured "bird" dancer was a joy to watch in this piece. Her refined movement fit with the proud stance of her bird character. The other dancers, dressed in fur vests and coats, contrasted the lightness of the bird, with their heavy and loose movement vocabulary. The motif of the hip slap into what I saw as folded bird wings was so strong for me that I know this piece will resonate with me for a while still.
Festival director, Amanda Hart closed the festival with a duet entitled "Forever." This sweet choreography is characteristic of the strong jazz based choreography (especially male-female partnering) that I have come to expect of Hart's work. These dancers seemed to authentically enjoy dancing with each other. They were soft and gentle with each other and told the story of falling in love with a conviction that melted the audience.
Overall the festival was a huge success!
The Southern Califronia dance community is gaining momentum, with festivals such as MixMatch, ADaPT and Celebrate Dance. And, the opportunity for choreographers of all genres and backgrounds is greater than ever. Now is the time to join in the movement and go out to see more dance in your local community. Take the risk and discover the hidden treasures in your own backyard.
Did you see the show?
What did you think?
Did you love a dance I didn't mention? (I am sure you did!) Share it here!
Your comments help support dance in LA and Nationwide!
Beth
If you are interested in reading up on Last Years MixMatch click here:
Also, if you are interested in seeing one of the dance works presented by Megill & Company for this festival, click here.
Stop. Listen. Dance.
Monday, June 10, 2013
Review: Nancy Evans Dance Theater and Guests in WORKS
I used to think that there was little variety in the modern dance scene in LA, but getting out more and seeking shows off the beaten path has proved me quite wrong. Nancy Evans Dance Theater is a rock solid modern dance company, in residence at Porticoes Art Space in Pasadena. And, when I say modern dance, I want to clarify that Evans' work is truly an extension of the historical modern dance era. Much of what is called modern dance today is really contemporary modern dance, a result of the rule breaking post modernists and the subsequent techniques of contact improvisation and release technique.
NEDT works within a movement frame work that predates these trends. Evans choreography has all the compositional integrity, expressive narrative and shape based technique of the modern dance era, and her story telling through movement still resonates for today. The guest company SolevVita Dance Company, under the artistic direction of Joelle Martinec, was a playfully refreshing contemporary jazz company that contrasted the NEDT aesthetic and balanced the show nicely.
Here are a few highlight from a few different works on the program:
Choreographed by Nancy Evans, Vigil, was originally staged in 2012 and restaged for this performance. A 45 minute dance narrative about death, loss and grief, this was a moving study in character and storytelling through movement. I appreciated the consistent "roles" the dancers played in the work. To me they were the family members left behind, mother, sister, wife and mother in law. Scot Tuper, as the deceased, held the energetic space for the duration of the work, mostly confined to his upstage platform, separate but always emotionally involved. I was particularly swept into the piece during the candle solo by Monica Buckner whose emotive commitment gave me permission to invest in the characters' relationships. Her emotional sensitivity to her gestural solo was detailed, patient and rich. The music included a variety of classical works by Ravel, Liszt, Debussy and Mompou among others. This style of piano scored music, has largely gone out of favor in current dance practices. Most choreographers opting for minimalist scores, electronic soundtracks or popular music. The use of music that is at once beautiful as well as irregular and dissonant blended with the choreographic composition seamlessly. Evans musicianship (as seen in others pieces as well) is embedded in her craft. Music, dance and expression all as one.
Another favorite of the show for me was the quirky and serene Flock of Two by NEDT company member Katrina Amerine. This duet performed by Ashleigh Doede and Jenn Logan was imagery rich while simple in design. The piece consisted of a strong balletic leaning, which worked brilliantly with the dancers' long and birdlike legs and arms. In some ways I saw this piece as more of a contemporary ballet than modern with the curved port de bras, long lines in the legs, springs and turns that worked so well together. I did find myself wondering about the relationship of the two dancers as their focus stayed individually directed for the whole of the dance. With that said, I wondered about their relationship not just to each other but to the world around them and their journey through time and space. The piece closed with my favorite swirling image of the dancers, in which they magically evoked the quality of birds swooping and circling in the air.
Joelle Martinec's SoleVita contrasted the longer works of NEDT with bite sized dances that were charming and fun. An interesting programatic choice was the order of Flock of Two followed by SoleVita's 2, followed by NEDT's Coupling, Cycles 1-3 (choreographed by Jenn Logan). These three duets were so notably different in tone, relationship and story that they could be their own compositional study. 2, choreographed by Joelle Martinec, contrasted Flock of Two, with a jazzy score and classical jazz styling on top of a playful romance. These well matched dancers played over the top characters, who bumped and bonked their way through getting to know each other and falling in love. The contemporary jazz technique and use of a male-female duet has become a very familiar dance formula made popular by So You Think You Can Dance. Nevertheless, this piece was unpredictable in its use of humor and play to tell the story of these young and talented lovers.
Modern Communication also choreographed by Martinec, was a satirical piece about our new best friends: cell phones (and their incredible ability to stop our in person lives in favor of our cyber-lives). Martinec, clearly has her finger on the pulse of current pop culture, and I deeply appreciate her willingness to use the popular contemporary jazz style to comment on the hazzards or pop culture. Her witty use of Sheila Chandra's music entitled Speaking in Tongues, certainly made me smile as it also demonstrated Martinec's use of musicality in her choreography (as well as the dancers' ability to recreate and perform such complex musical phrasing).
The last two pieces I wish to comment on are the two solos performed by the respective artistic directors of the companies. Martinec danced a seductive jazz solo choreographed by Alex Little, called To Be Loved in Return, set to live a saxophone performance by Mathew Thompson. Martinec is a luscious performer, generous, confident and very sexy. She became the saxophone being played, cool and sweet. Her body was alive in a way that made me very sad when it was over so soon.
Nancy Evans took the stage for her homage to mentor Hanya Holm in Zwei Seelen wohnen, ach in meiner Brust meaning Two Souls, alas, Dwell in my Breast (and, I was so excited to put my German language skills to use!). As I had enter the lobby earlier that day, I noticed a slide show projected on the wall including images of and quotes of modern dance legend Hanya Holm. Holm is part of the German expressionist line of modern dance, having studied with Mary Wigman before coming to America and continuing her extensive career teaching and choreographing. I watched the slide show play all the way through, captivated by the expression in Holm's body and the truth in her quotes. . . and I am so glad I did. Having seen the slide show images, I was able to see the physical and aesthetic lineage from Holm to Evans. Dance that is musical, dynamically varied and extremely well crafted. The second half of the piece was set to a piece of music in 5/4 and I could not have been happier watching the rhythmic play of Evans dancing through the space, viscerally connected to the driving music. It was emotionally invigorating and not a surprise when the audience erupted into applause before the lights had even gone out. That is a sign of a well crafted composition.
I realized as I was watching the performance that the Hanya Holm slide show not only informed my understanding and appreciation of Evans' solo, but of all of her choreography. Evans is not interested in post modern thinking or contemporary trends. She is a storyteller, trusting in the power of gesture, shape and rhythm for physical communication. I was reminded just how important a simple moment can be, shifting the gaze from one space to another, holding someone's hands, reaching out for them, turning away. Those are the moments I take with me from this afternoon of dance.
This is the great dance that is happening right here in greater LA. This is the dance that makes you think, makes you stop and wonder about what you value and how you want to be in the world. Remember that the dance world needs your continued support and that you also need the dance world. We all need the reminder through movement that we are all human, and we are all dancing through this thing called life.
NEDT works within a movement frame work that predates these trends. Evans choreography has all the compositional integrity, expressive narrative and shape based technique of the modern dance era, and her story telling through movement still resonates for today. The guest company SolevVita Dance Company, under the artistic direction of Joelle Martinec, was a playfully refreshing contemporary jazz company that contrasted the NEDT aesthetic and balanced the show nicely.
Here are a few highlight from a few different works on the program:
Choreographed by Nancy Evans, Vigil, was originally staged in 2012 and restaged for this performance. A 45 minute dance narrative about death, loss and grief, this was a moving study in character and storytelling through movement. I appreciated the consistent "roles" the dancers played in the work. To me they were the family members left behind, mother, sister, wife and mother in law. Scot Tuper, as the deceased, held the energetic space for the duration of the work, mostly confined to his upstage platform, separate but always emotionally involved. I was particularly swept into the piece during the candle solo by Monica Buckner whose emotive commitment gave me permission to invest in the characters' relationships. Her emotional sensitivity to her gestural solo was detailed, patient and rich. The music included a variety of classical works by Ravel, Liszt, Debussy and Mompou among others. This style of piano scored music, has largely gone out of favor in current dance practices. Most choreographers opting for minimalist scores, electronic soundtracks or popular music. The use of music that is at once beautiful as well as irregular and dissonant blended with the choreographic composition seamlessly. Evans musicianship (as seen in others pieces as well) is embedded in her craft. Music, dance and expression all as one.
Another favorite of the show for me was the quirky and serene Flock of Two by NEDT company member Katrina Amerine. This duet performed by Ashleigh Doede and Jenn Logan was imagery rich while simple in design. The piece consisted of a strong balletic leaning, which worked brilliantly with the dancers' long and birdlike legs and arms. In some ways I saw this piece as more of a contemporary ballet than modern with the curved port de bras, long lines in the legs, springs and turns that worked so well together. I did find myself wondering about the relationship of the two dancers as their focus stayed individually directed for the whole of the dance. With that said, I wondered about their relationship not just to each other but to the world around them and their journey through time and space. The piece closed with my favorite swirling image of the dancers, in which they magically evoked the quality of birds swooping and circling in the air.
Joelle Martinec's SoleVita contrasted the longer works of NEDT with bite sized dances that were charming and fun. An interesting programatic choice was the order of Flock of Two followed by SoleVita's 2, followed by NEDT's Coupling, Cycles 1-3 (choreographed by Jenn Logan). These three duets were so notably different in tone, relationship and story that they could be their own compositional study. 2, choreographed by Joelle Martinec, contrasted Flock of Two, with a jazzy score and classical jazz styling on top of a playful romance. These well matched dancers played over the top characters, who bumped and bonked their way through getting to know each other and falling in love. The contemporary jazz technique and use of a male-female duet has become a very familiar dance formula made popular by So You Think You Can Dance. Nevertheless, this piece was unpredictable in its use of humor and play to tell the story of these young and talented lovers.
Modern Communication also choreographed by Martinec, was a satirical piece about our new best friends: cell phones (and their incredible ability to stop our in person lives in favor of our cyber-lives). Martinec, clearly has her finger on the pulse of current pop culture, and I deeply appreciate her willingness to use the popular contemporary jazz style to comment on the hazzards or pop culture. Her witty use of Sheila Chandra's music entitled Speaking in Tongues, certainly made me smile as it also demonstrated Martinec's use of musicality in her choreography (as well as the dancers' ability to recreate and perform such complex musical phrasing).
The last two pieces I wish to comment on are the two solos performed by the respective artistic directors of the companies. Martinec danced a seductive jazz solo choreographed by Alex Little, called To Be Loved in Return, set to live a saxophone performance by Mathew Thompson. Martinec is a luscious performer, generous, confident and very sexy. She became the saxophone being played, cool and sweet. Her body was alive in a way that made me very sad when it was over so soon.
Nancy Evans took the stage for her homage to mentor Hanya Holm in Zwei Seelen wohnen, ach in meiner Brust meaning Two Souls, alas, Dwell in my Breast (and, I was so excited to put my German language skills to use!). As I had enter the lobby earlier that day, I noticed a slide show projected on the wall including images of and quotes of modern dance legend Hanya Holm. Holm is part of the German expressionist line of modern dance, having studied with Mary Wigman before coming to America and continuing her extensive career teaching and choreographing. I watched the slide show play all the way through, captivated by the expression in Holm's body and the truth in her quotes. . . and I am so glad I did. Having seen the slide show images, I was able to see the physical and aesthetic lineage from Holm to Evans. Dance that is musical, dynamically varied and extremely well crafted. The second half of the piece was set to a piece of music in 5/4 and I could not have been happier watching the rhythmic play of Evans dancing through the space, viscerally connected to the driving music. It was emotionally invigorating and not a surprise when the audience erupted into applause before the lights had even gone out. That is a sign of a well crafted composition.
I realized as I was watching the performance that the Hanya Holm slide show not only informed my understanding and appreciation of Evans' solo, but of all of her choreography. Evans is not interested in post modern thinking or contemporary trends. She is a storyteller, trusting in the power of gesture, shape and rhythm for physical communication. I was reminded just how important a simple moment can be, shifting the gaze from one space to another, holding someone's hands, reaching out for them, turning away. Those are the moments I take with me from this afternoon of dance.
This is the great dance that is happening right here in greater LA. This is the dance that makes you think, makes you stop and wonder about what you value and how you want to be in the world. Remember that the dance world needs your continued support and that you also need the dance world. We all need the reminder through movement that we are all human, and we are all dancing through this thing called life.
Friday, May 31, 2013
Review: A Poet, a Musician and A Dancer Walk into a Coffeehouse. . .
This Friday night (the first Friday I have had available in what seems like an eternity), I got into my little gold Nissan Sentra, Google-mapped the Kaldi Coffee Shop and headed out of suburbia and into the city for a performance produced by Keith Glassman Dance and Performance.
I had taken a Glassman movement class once a couple years back at the Annenberg House. I knew he liked working with diverse dancers and even "non-dancers," and since that is right up my alley, I thought the adventure, costing only gas and the price of my Matcha Latte, was well worth it.
The performance space was a typical small coffee shop, hip with organic teas, vegan cookies, and decorative cactus. The show started with a poet, Santa Perversa, a Chicana poet who specializes in erotic poetry and bilingual poems. The acoustics of the shop were less than ideal, so I missed much of her wordsmithing, which was a little frustrating. However, she hit her stride in her self love/ erotic series in which her performance carried the words effortlessly through the space. This reminded me how the sentiment and delivery can make communication so easy in difficult performances spaces.
The second segment of the show was a duet choreographed by Keith Glassman in collaboration with the two performers. The female performer, Klyda Mahoney is a stately performer, at ease in her skin. I was not surprised that she is a mature dancer (I found out online that she is an impressive septuagenarian). And, I bring up her age in celebration of the dancer. I loved seeing this beautiful woman moving through the space, clad in a brown tie dyed skirt, hip wrap, ankle rattle and painted red palms. Her simple movement vocabulary was rich with references to tribal and folk dance forms, often traveling with rhythmic steps: small, patient, elegant, purposeful.
The piece started with a recorded spoken word piece (which I couldn't make out very well because of the recording and the coffee shop noise). What I did manage to capture were clear references to light and dark, white (man?) and black. After her initial circling around the audience, she surprised the audience with a beautifully sung, blues-based scat. Her voice was clear and vibrant. She was then joined by a fantastic saxophonist, Charles Sharp (whose circular breathing was quite impressive to me-- How do they do that??). Thus began the duet, an exchange of movement, gesture and sound. Sharp moved as well (while continuing to play) even laying down at one point and sitting back up with no aural indication of his effort. Mahoney, then sang her blues scat again, painting her dark skin with white paint, reinforcing the tribal references both Native American, but also perhaps Australian Aboriginal. But, the blues harmonics kept me glued into the African American story as well. It seemed a dance of loss, mourning, power and solidarity. I am sure if I heard the opening spoken word again I would have more context for the work, but as it was, even without a title or a context, the piece was a successful celebration of pairing music and movement in time and space.
The last segment of the hour long show was a Jazz trio including Charles Sharp on saxophone as well and a finessed drummer and technically savvy bassist. If you have never heard avant garde jazz, their style may have been a surprise, but for those who thrive off of the avant garde jazz style, this trio is for you. The first piece started off with a thick and harried texture, frenetic on all accounts, as each musician rallied their energy in bursts of activity. The piece settled into a groovy swing that was then extra satisfying after the quite shocking opening section. The second piece was more atmospheric in tone, allowing more space and laying out a horizon of sound that for me as a choreographer was very inviting.
I had to leave at that point, my parking meter had run out because the show had started a bit late so I needed to get going. But, the adventure overall gets a thumbs up. My favorite points being:
1. Shared stage time with words, dance and music
2. A beautiful mature dancer who exemplified fearlessness
3. Avant garde jazz (which I haven't enjoyed live in ages)
4. Dance in an unexpected and untraditional space
The audience (some unsuspecting) got a taste of the performing arts that are gritty and gusty in that Post Modern, make-a-statement kind of way. In a time when dancing on TV has become so popular, these informal, unglittered performances are the real gems. They challenge how we view the arts, why we view the arts and just how far we are willing to take ourselves away from the feel good commercialized world to discover something new about ourselves and the world around us.
Conclusion: See more live arts! And, be prepared for the unexpected.
They have two more performances in this series: Click Here for info.
Note: I am sorry I didn't get the names of the two other musicians, they really were excellent. So please, if you know their names, share it with the other readers in a comment below (and I will update the blog post as well)
Did you see the performance? What did you think? What shocked, surprised, impressed you? What did it get you thinking about? What did you order at the counter?
I had taken a Glassman movement class once a couple years back at the Annenberg House. I knew he liked working with diverse dancers and even "non-dancers," and since that is right up my alley, I thought the adventure, costing only gas and the price of my Matcha Latte, was well worth it.
The performance space was a typical small coffee shop, hip with organic teas, vegan cookies, and decorative cactus. The show started with a poet, Santa Perversa, a Chicana poet who specializes in erotic poetry and bilingual poems. The acoustics of the shop were less than ideal, so I missed much of her wordsmithing, which was a little frustrating. However, she hit her stride in her self love/ erotic series in which her performance carried the words effortlessly through the space. This reminded me how the sentiment and delivery can make communication so easy in difficult performances spaces.
The second segment of the show was a duet choreographed by Keith Glassman in collaboration with the two performers. The female performer, Klyda Mahoney is a stately performer, at ease in her skin. I was not surprised that she is a mature dancer (I found out online that she is an impressive septuagenarian). And, I bring up her age in celebration of the dancer. I loved seeing this beautiful woman moving through the space, clad in a brown tie dyed skirt, hip wrap, ankle rattle and painted red palms. Her simple movement vocabulary was rich with references to tribal and folk dance forms, often traveling with rhythmic steps: small, patient, elegant, purposeful.
The piece started with a recorded spoken word piece (which I couldn't make out very well because of the recording and the coffee shop noise). What I did manage to capture were clear references to light and dark, white (man?) and black. After her initial circling around the audience, she surprised the audience with a beautifully sung, blues-based scat. Her voice was clear and vibrant. She was then joined by a fantastic saxophonist, Charles Sharp (whose circular breathing was quite impressive to me-- How do they do that??). Thus began the duet, an exchange of movement, gesture and sound. Sharp moved as well (while continuing to play) even laying down at one point and sitting back up with no aural indication of his effort. Mahoney, then sang her blues scat again, painting her dark skin with white paint, reinforcing the tribal references both Native American, but also perhaps Australian Aboriginal. But, the blues harmonics kept me glued into the African American story as well. It seemed a dance of loss, mourning, power and solidarity. I am sure if I heard the opening spoken word again I would have more context for the work, but as it was, even without a title or a context, the piece was a successful celebration of pairing music and movement in time and space.
The last segment of the hour long show was a Jazz trio including Charles Sharp on saxophone as well and a finessed drummer and technically savvy bassist. If you have never heard avant garde jazz, their style may have been a surprise, but for those who thrive off of the avant garde jazz style, this trio is for you. The first piece started off with a thick and harried texture, frenetic on all accounts, as each musician rallied their energy in bursts of activity. The piece settled into a groovy swing that was then extra satisfying after the quite shocking opening section. The second piece was more atmospheric in tone, allowing more space and laying out a horizon of sound that for me as a choreographer was very inviting.
I had to leave at that point, my parking meter had run out because the show had started a bit late so I needed to get going. But, the adventure overall gets a thumbs up. My favorite points being:
1. Shared stage time with words, dance and music
2. A beautiful mature dancer who exemplified fearlessness
3. Avant garde jazz (which I haven't enjoyed live in ages)
4. Dance in an unexpected and untraditional space
The audience (some unsuspecting) got a taste of the performing arts that are gritty and gusty in that Post Modern, make-a-statement kind of way. In a time when dancing on TV has become so popular, these informal, unglittered performances are the real gems. They challenge how we view the arts, why we view the arts and just how far we are willing to take ourselves away from the feel good commercialized world to discover something new about ourselves and the world around us.
Conclusion: See more live arts! And, be prepared for the unexpected.
They have two more performances in this series: Click Here for info.
Note: I am sorry I didn't get the names of the two other musicians, they really were excellent. So please, if you know their names, share it with the other readers in a comment below (and I will update the blog post as well)
Did you see the performance? What did you think? What shocked, surprised, impressed you? What did it get you thinking about? What did you order at the counter?
Thursday, April 4, 2013
Then. Now. Onward: A Review of the Los Angeles Contemporary Dance Company
This was my first ever Los Angeles Contemporary Dance Company show, so I came in with literally no expectations. What I knew of LACDC, consisted of a trio I saw of artistic director, Kate Hutter's just last Friday at Adam Parson's Commonality Dance benefit concert. (See review here).
I also, knew a little about Lindsey Lollie's work (one of the guest artists), having seen her at a number of dance festivals in LA this past year. But, all in all, I was a clean slate, and I was excited to see what LACDC had in store for me.
This spring repertory show was truly enjoyable. Now, perhaps I have just been holed up in my suburban life (hello tenure process!), but this is the first local, professional contemporary modern dance company I have seen since I moved to the LA area. I have seen fantastic touring groups come through, and I have seen short form contemporary work in regional festivals. But, this was the first company with evening length repertory that I can say was not either a college dance show or some permutation of contemporary jazz.
The concert consisted of 4 pieces. Here are a few thoughts on each:
Lindsey Lollie's piece "En Route" was set to a live avant garde score of Peter Gonzales. What a treat to have a blend of live instrumentation and real time ipad and macbook driven technical manipulation creating a living, breathing, aural landscape for the piece. Lollie's syrupy movement dripped off the dancers in the signature style I have come to associate with her work. The movement palette was silky smooth with a kinetic flow that poured into the floor and between bodies with a hypnotic result. The dancers embodied the style with ease and vibrancy.
Arianne MacBean presented a beautiful and fun large ensemble piece entitled "100 Times is Not Enough." MacBean's sense of comic timing and wit made this piece extra enjoyable for the audience. Telling the "story" of a choreographer in the creative process, the piece featured LACDC's Kate Hutter as the "choreographer," who has to confront herself and her misgivings about creating dance again and again, but eventually finds solace in simple movements that weave together into a visual tapestry that is rich and satisfying. What can I say? I love humor. And, Hutter's comic timing and ability to connect to the audience was excellent. But, humor aside, the craftsmanship of the composition was what made this piece so victorious in the end! It gave the audience a chance to see the piece come to life, and gave the audience a reason to cheer for the success of the piece. It was a choreographic victory happening before our eyes! "99!"
Returning from intermission, "Unravel" choreographed by Kate Hutter and performed by Hutter and Charlie Hodges, had the audience in rapture. I think the power of this piece lies in the human connection. This piece, more than any other in the evening, highlighted an intimacy between performers that was playful, invested, and personal. The seamless partnering and dynamic flow of the two bodies in space had my neighboring audience member whispering "beautiful" under his breath and clapping overhead by the end. Hutter and Hodges' life long friendship in movement was a treat for the audience to savor.
The evening culminated with Hutter's interpretation of The Rite of Spring, which celebrated it 100's anniversary just this past spring. Entitled "Prite oef Stringh" (and yes, to save you a moment, it does work out to spell The Rite of Spring all jumbled), this piece was set to a recrafted version of Stranvisky's original score, as freshly composed by Austin Wintory. I very much enjoyed the simple modifications to the original music to suit a contemporary aesthetic of dance as well as a newly crafted retelling of the story. The dancer's wore white long underwear that was cut for the women, and socks on everyone that allowed the dancers to slide and be slid (by others) across the white marley floor. The large cast was essential for creating the sense of tribe and community in the piece and made the final "outcast" particularly prominent. The dancer's exquisite physicality was the shining star for me in this piece. They danced from their gut in a way that was completely vulnerable and appropriately disturbing at times. This, juxtaposed with periods of live clapping, added to the visceral immediacy of the "Rite." A beautiful and beautifully danced contemporary work, that before now I hadn't experienced among the professional LA dance world.
This show runs the weekend and should be seen by every dance lover who aches for concert length contemporary dance works that are unashamed to be exactly as they are in a city of glitter and red carpets.
Then. Now. Onward!
April 4, 5, 6 2013 8:00pm, April 7th at 7pm
I also, knew a little about Lindsey Lollie's work (one of the guest artists), having seen her at a number of dance festivals in LA this past year. But, all in all, I was a clean slate, and I was excited to see what LACDC had in store for me.
This spring repertory show was truly enjoyable. Now, perhaps I have just been holed up in my suburban life (hello tenure process!), but this is the first local, professional contemporary modern dance company I have seen since I moved to the LA area. I have seen fantastic touring groups come through, and I have seen short form contemporary work in regional festivals. But, this was the first company with evening length repertory that I can say was not either a college dance show or some permutation of contemporary jazz.
The concert consisted of 4 pieces. Here are a few thoughts on each:
Lindsey Lollie's piece "En Route" was set to a live avant garde score of Peter Gonzales. What a treat to have a blend of live instrumentation and real time ipad and macbook driven technical manipulation creating a living, breathing, aural landscape for the piece. Lollie's syrupy movement dripped off the dancers in the signature style I have come to associate with her work. The movement palette was silky smooth with a kinetic flow that poured into the floor and between bodies with a hypnotic result. The dancers embodied the style with ease and vibrancy.
Arianne MacBean presented a beautiful and fun large ensemble piece entitled "100 Times is Not Enough." MacBean's sense of comic timing and wit made this piece extra enjoyable for the audience. Telling the "story" of a choreographer in the creative process, the piece featured LACDC's Kate Hutter as the "choreographer," who has to confront herself and her misgivings about creating dance again and again, but eventually finds solace in simple movements that weave together into a visual tapestry that is rich and satisfying. What can I say? I love humor. And, Hutter's comic timing and ability to connect to the audience was excellent. But, humor aside, the craftsmanship of the composition was what made this piece so victorious in the end! It gave the audience a chance to see the piece come to life, and gave the audience a reason to cheer for the success of the piece. It was a choreographic victory happening before our eyes! "99!"
Returning from intermission, "Unravel" choreographed by Kate Hutter and performed by Hutter and Charlie Hodges, had the audience in rapture. I think the power of this piece lies in the human connection. This piece, more than any other in the evening, highlighted an intimacy between performers that was playful, invested, and personal. The seamless partnering and dynamic flow of the two bodies in space had my neighboring audience member whispering "beautiful" under his breath and clapping overhead by the end. Hutter and Hodges' life long friendship in movement was a treat for the audience to savor.
The evening culminated with Hutter's interpretation of The Rite of Spring, which celebrated it 100's anniversary just this past spring. Entitled "Prite oef Stringh" (and yes, to save you a moment, it does work out to spell The Rite of Spring all jumbled), this piece was set to a recrafted version of Stranvisky's original score, as freshly composed by Austin Wintory. I very much enjoyed the simple modifications to the original music to suit a contemporary aesthetic of dance as well as a newly crafted retelling of the story. The dancer's wore white long underwear that was cut for the women, and socks on everyone that allowed the dancers to slide and be slid (by others) across the white marley floor. The large cast was essential for creating the sense of tribe and community in the piece and made the final "outcast" particularly prominent. The dancer's exquisite physicality was the shining star for me in this piece. They danced from their gut in a way that was completely vulnerable and appropriately disturbing at times. This, juxtaposed with periods of live clapping, added to the visceral immediacy of the "Rite." A beautiful and beautifully danced contemporary work, that before now I hadn't experienced among the professional LA dance world.
This show runs the weekend and should be seen by every dance lover who aches for concert length contemporary dance works that are unashamed to be exactly as they are in a city of glitter and red carpets.
Then. Now. Onward!
April 4, 5, 6 2013 8:00pm, April 7th at 7pm
LACDC’s Spring Repertory Concert featuring new work by L.A.
choreographers Arianne MacBean, Lindsey Lollie, and Artistic Director,
Kate Hutter. The performance will also feature live performance of
original music.
Diavolo Dance Space in the Brewery in downtown L.A.
616 Moulton Ave. Los Angeles, CA 90031
Diavolo Dance Space in the Brewery in downtown L.A.
616 Moulton Ave. Los Angeles, CA 90031
Saturday, March 30, 2013
Adam Parson's Commonality Dance Company
Living in Simi Valley, is a tricky one because I'm close to the LA dance scene, and yet, it really takes a effort to get out and participate. But, tonight I am so glad I did.
Last minute I decided to jump in the car and head to North Hollywood to see Commonality Dance Company at Liv' Art Dance Studio. Adam Parson started the company in 1998 and has toured internationally as well as being an LA favorite. His style: Jazz.
Parson's choreography is an excellent example of Jazz dance that is diverse, entertaining, athletic and musical. His choreographic style hinges exclusively on the powerful relationship he creates with the music, and his ability to manifest a distinct and complex pallet of dynamics and effort qualities. What does that mean in every day language? His dances go beyond the flat aesthetic of cliché jazz dance. There is a richness to the movement, that is detailed, refined and precise.
One of my concerns with contemporary jazz practices is the tendency toward the overly dramatic and painfully hyper-emotional. Parson's work was honest and human without the affectations of "show." The dancers were relatable (despite their jaw dropping endurance, athleticism and pristine virtuosity). I love seeing dancers as people, and this show was full of people dancing. It was sexy, fun, well crafted dance that renewed my conviction to advocate for the genre in academia.
People wonder if Jazz has a place in Higher Education.
Well. . .
THIS jazz certainly does. The works I saw tonight were not only physically challenging, but ripe with compositional integrity, movement invention, design and musicianship. This is not just dancing to a good pop song. This is true craft.
But, the craft is so well done it is virtually invisible. In other words, the audience at large may not leave thinking to themselves "Wow! That musical counterpoint was tremendous!" or " Did you notice the use of the dancer's kinesphere? Such versatility in somatic connectivity!"
They leave with a smile on their faces, because they could see and feel that this was "good" dance. It included themes that they could identify with and movements that spoke to their souls. But, just because something is enjoyable doesn't mean we should leave it at that. We can't make the mistake of only analyzing the dances that are hard to get and or semi-sufferable!
Let's honor this dance form by seeing at it is: so much more than just beautiful bodies doing impressive steps. Parson is a composer of dance. He is a painter of the space and a visual musician.
Here are a few notes I made on some of the pieces that really stuck with me:
Good Intent was an all female piece choreographed by Adam Parson. The six women performed exquisitely. The movement pallet included small gestures and isolations that highlighted the hot/cool juxtaposition of jazz dance. The women were commanding and exact in their shoulder shrugs, hip rolls and hand gestures. I think I was particularly taken with this piece because of the musicality of the choreography and the way in which the movements embodied such a diverse range of movement qualities from sudden to sustained, direct and indirect, light and firm. The combinations were playful and enriching to the piece that was ultimately a playful and flirty seduction through movement and allure.
In contrast, Howitsdun was an all male piece by Parson that gave the male company members an opportunity to shine in their strength, masculinity and sex appeal. The men dressed in slacks, button down shirts and ties, bounded through the space with an animal-like quality that was all power, while their exterior was cool, calm and collected. The rhythms were engaging in their syncopation making this a current jazz piece that successfully evokes the aesthetics of Gene Kelly and Matt Mattox.
Check it out for yourself!:
Another pick of the evening was the work of one of the guest artists, Jennifer Hamilton. This piece, called When My Train Comes In, was a much more contemporary jazz piece. The finely trained dancers moved with strength power and emotional investment. What made the movement less "traditional" jazz and more contemporary? Well, the intense musicality was there, but, was driven by something other than the structural play of rhythmic syncopation. This piece included rhythm as a means for driving the emotional content of the work, with the focus on regularly repeated movement to drive home the emotional desperation in the dancers.
The most contemporary piece of the show was Kate Hutter's HyperSuperUltraNow (LACDC). This trio was the most abstract (least narrative), performed by three very diverse women. The piece included the same type of precision as seen in the other numbers, but shed some of the jazz styling to transform the dancers into these quirky characters, bobbing and listing through the space. I found the material refreshing, playful and pleasantly odd. But, while this piece might read jazzy on a contemporary modern dance concert, it was definitely the most "stand out-ish" for branching away from the jazz value set.
All in all, I enjoyed the entire concert, and found that each piece offered me something to enjoy or think about. Kudos to the entire cast and to the rest of the choreographers, Olivia Gaugain, Dominic Chaiduang, Theresa Kahl, Shanon Novak, and Alex Little.
While the space is likely to sell out again (and the only real downfall of the evening was the flat seating for the audience), I encourage all dancers to attend the second performance today, Saturday March 30th, 2013. It is worth sitting on the floor if you have to (so don't wear a skirt!). Parson mentioned his vision of Commonality becoming THE premier jazz dance company of LA and after seeing this show, I think that he is already on his way.
Last minute I decided to jump in the car and head to North Hollywood to see Commonality Dance Company at Liv' Art Dance Studio. Adam Parson started the company in 1998 and has toured internationally as well as being an LA favorite. His style: Jazz.
Parson's choreography is an excellent example of Jazz dance that is diverse, entertaining, athletic and musical. His choreographic style hinges exclusively on the powerful relationship he creates with the music, and his ability to manifest a distinct and complex pallet of dynamics and effort qualities. What does that mean in every day language? His dances go beyond the flat aesthetic of cliché jazz dance. There is a richness to the movement, that is detailed, refined and precise.
One of my concerns with contemporary jazz practices is the tendency toward the overly dramatic and painfully hyper-emotional. Parson's work was honest and human without the affectations of "show." The dancers were relatable (despite their jaw dropping endurance, athleticism and pristine virtuosity). I love seeing dancers as people, and this show was full of people dancing. It was sexy, fun, well crafted dance that renewed my conviction to advocate for the genre in academia.
People wonder if Jazz has a place in Higher Education.
Well. . .
THIS jazz certainly does. The works I saw tonight were not only physically challenging, but ripe with compositional integrity, movement invention, design and musicianship. This is not just dancing to a good pop song. This is true craft.
But, the craft is so well done it is virtually invisible. In other words, the audience at large may not leave thinking to themselves "Wow! That musical counterpoint was tremendous!" or " Did you notice the use of the dancer's kinesphere? Such versatility in somatic connectivity!"
They leave with a smile on their faces, because they could see and feel that this was "good" dance. It included themes that they could identify with and movements that spoke to their souls. But, just because something is enjoyable doesn't mean we should leave it at that. We can't make the mistake of only analyzing the dances that are hard to get and or semi-sufferable!
Let's honor this dance form by seeing at it is: so much more than just beautiful bodies doing impressive steps. Parson is a composer of dance. He is a painter of the space and a visual musician.
Here are a few notes I made on some of the pieces that really stuck with me:
Good Intent was an all female piece choreographed by Adam Parson. The six women performed exquisitely. The movement pallet included small gestures and isolations that highlighted the hot/cool juxtaposition of jazz dance. The women were commanding and exact in their shoulder shrugs, hip rolls and hand gestures. I think I was particularly taken with this piece because of the musicality of the choreography and the way in which the movements embodied such a diverse range of movement qualities from sudden to sustained, direct and indirect, light and firm. The combinations were playful and enriching to the piece that was ultimately a playful and flirty seduction through movement and allure.
In contrast, Howitsdun was an all male piece by Parson that gave the male company members an opportunity to shine in their strength, masculinity and sex appeal. The men dressed in slacks, button down shirts and ties, bounded through the space with an animal-like quality that was all power, while their exterior was cool, calm and collected. The rhythms were engaging in their syncopation making this a current jazz piece that successfully evokes the aesthetics of Gene Kelly and Matt Mattox.
Check it out for yourself!:
Another pick of the evening was the work of one of the guest artists, Jennifer Hamilton. This piece, called When My Train Comes In, was a much more contemporary jazz piece. The finely trained dancers moved with strength power and emotional investment. What made the movement less "traditional" jazz and more contemporary? Well, the intense musicality was there, but, was driven by something other than the structural play of rhythmic syncopation. This piece included rhythm as a means for driving the emotional content of the work, with the focus on regularly repeated movement to drive home the emotional desperation in the dancers.
The most contemporary piece of the show was Kate Hutter's HyperSuperUltraNow (LACDC). This trio was the most abstract (least narrative), performed by three very diverse women. The piece included the same type of precision as seen in the other numbers, but shed some of the jazz styling to transform the dancers into these quirky characters, bobbing and listing through the space. I found the material refreshing, playful and pleasantly odd. But, while this piece might read jazzy on a contemporary modern dance concert, it was definitely the most "stand out-ish" for branching away from the jazz value set.
All in all, I enjoyed the entire concert, and found that each piece offered me something to enjoy or think about. Kudos to the entire cast and to the rest of the choreographers, Olivia Gaugain, Dominic Chaiduang, Theresa Kahl, Shanon Novak, and Alex Little.
While the space is likely to sell out again (and the only real downfall of the evening was the flat seating for the audience), I encourage all dancers to attend the second performance today, Saturday March 30th, 2013. It is worth sitting on the floor if you have to (so don't wear a skirt!). Parson mentioned his vision of Commonality becoming THE premier jazz dance company of LA and after seeing this show, I think that he is already on his way.
Sunday, January 20, 2013
Review: Awakenings and Beginnings (Highlights)
As much as I prefer to give complete reviews for dance shows I attend, I only have time to share the majority of the highlights. (So, please don't take offense if I didn't get to your piece this time around!)
The evening of dance was produced by Noelle Andressen and featured pieces from her company Rubans Rouges as well as other companies from LA, Ventura and Santa Barbara county. The show, appropriately entitled Awakenings and Beginnings, was the very first show produced by Andressen and her company. I was very fortunate to work with Andressen while she attended Moorpark College and must say I am most impressed with her courage, creative focus, and unrelenting persistence as an artist.
The show opened with Gitanas de Jazz choreographed by Roubans Rouge dancer Kirby Harrell. This Spanish and Latin inspired dance was a crowd pleaser with its sexy movement vocabulary and fun rhythmic components. Harrell playfully incorporated body isolations and polyrhythms in such a way to make this dance tough to categorize as either jazz, folk or social. What it was, was fun!
Amanda Hart, who is no stranger to the dance scene in LA, performed a charming solo called Fluff. Her performance was simple, clean and captivating. I have seen her company perform many times, and was so pleased with the chance to her dance. She gave this sweet and playful choreography a mature gravity that was honest and lovely.
Another member of the Moorpark College family, department chair, Robert Salas of Movement Theater CoLab presented a trio of three fiery redheads in Four Steps. These three women were stunning in both their power and sense of line. True to Salas' style, this piece included a blend of sensitive gesture and athletic power moves. This power trio (as I liked to call them) did justice to htis challenging work both physically and emotionally.
Under the newly formed performance collective, Art Bark (formerly Sonnenblaume), Misa and Stephen Kelly co-choreographed One World is Never Enough. This piece had it all: charming children at the beginning, a cute Dachshund running across the stage and paper airplanes thrown by the audience! Set to a complex soundscape (that I can't even begin to recreate in my memory), this piece played like an abstract impressionist painting, offering the audience a series of images and scenarios that hinted at travel and relationships, but left the majority of the meaning to be formed by the observer. Very Art Barkian!
One of Andressen's works was the solo Real Eyes, Realize, Real Lies, in which she danced while seated at the edge of a large mirror on the floor. This largely gestural piece, played with the concepts of reflection and identity, ending with Andressen pouring colored paint onto the mirror to obscure her image before a fellow dancer entered to remove her head scarf in a final moment of unveiling. The imagery of this piece reminds me of Andressen's background in film. Like the lens of a camera, the mirrors were both a window into truth and lies, a representative example of Andresson's strong sense of dance as moving pictures.
Jenn Logan choreographed a remarkable duet, Coupling, Cycles 1-3 performed by Katrina Amerince and Scot Tupper. This dance was seamless and brilliant. The dancers and choreographer are all members of Nancy Evans Dance Theater and their intimacy and understanding of each other was evident in the complete ease of the performance. The partnering was mesmerizing and the chemistry between the performers was honest. The performance was an example of technical excellence that was a pure pleasure to watch.
Megill & Company debuted a new piece, called the Señorita Dance, choreographed Beth Megill (that's me!). The audience received this piece with a joyful giggle and enthusiastic applause. The petite allegro and folklorico inspired rhythms set this piece apart from the rest of the concert with its strong sense of play and joy. I am so very proud of the performers whose excellent stage presence made this piece such a crown pleaser.
The Most Fascinating Person I Ever Met... Myself was an emotionally charged modern dance - hip hop hybrid choreographed by another of Moorpark College's faculty Wendi Baity. (If her name sounds familiar, it is because I recently wrote about her video series the Relentless Chronicles). In this piece Baity proves again her incredible ability to create movement that is not only physically challenging, but precise and energetically charged. Baity's movement doesn't just dance to the music, it dances in and around both the message and emotions of the hip hop soundtrack.
Andressen performed her most powerful piece of the evening with Kirby Harell, entitled Coeur de Verre. This piece highlighted exactly what Andressen is best at. Her petite frame and incredible core strength allowed her to be easily manipulated by her partner through sequences of lifts and shapes that feature Andressen's sense of design and space.
Alex Floyd was a new name to me going into performance, but her piece Ten was a definite crowd pleaser. Set to spoken word, this trio of technically strong dancers included a sophisticated blend of contemporary jazz technique and style with more modern phrasing and use of the spoken word soundtrack. Upon hearing that she recently received her degree from the University of Wyoming, I was even more excited because her style is a fresh addition to the LA dance scene.
Melissa Lynn Block of Santa Barbara (also performed with Art Bark) choreographed and performed a wonderfully rich and mature solo she titled Powerless. This somatic and release based modern dance work was perhaps the most unpretentious piece of the entire show. Dressed in a simple black dress, Bloch moved through the space with a strength and clarity that is less common in the current LA dance world. She was grounded and powerful.
Overall the show was a wonderful success and so well attended that audience members had to be accommodated by floor seating on the side of the performance space. The lighting is a simple on-off, and yet, the intimacy and aesthetic value of the performance was not diminished. The audience was quick to forgive any technical mishaps because the goal of the evening was an unveiling and opening of Andressen's vision and the entire audience seemed willing to honor that.
Did you see the show? Please feel free to follow this blog and post comments about your observations! The dance discussion is just beginning. . . Also if you have addition weblinks to share please do!
* I apologize for not having the musical selections for the pieces. The show was so well attended that I wasn't able to get a program! Now, that is what I call a successful first show.
Monday, October 22, 2012
Live @ LALA (Oct 20, 2012)
I know! I know! It has been too long since I have posted and the reasons are far too complex to get into right now. Expect a future post to get to the bottom of that (or at least the middle).
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Right now I want to celebrate another great gathering of dancers and dance artists at the Live @ LALA series' first showing, featuring works of local dance makers in this talent filled area. The venue is a super fun and chill dance studio called Live Arts Los Angeles (hence LALA) and the show was a great event, with refreshments for the audience members and wine at the bar.
Here is my personal run down of the show!
Carol Guidry choreographed and danced in a tango with Omar Olivas entitled "Tango de Los Muertos." It was the perfect opener for this loosely Halloween themed night of dance. The dancers rose from the grave (or was it a bed? or both?) to rekindle their romance through a seductive tango that was exquisitely executed and well designed for stage. Their face paint in the style of the skeletons of Dia de Los Muertos was playful and effective.
Lindsey Lollie and Chelsea Yarnell choreographed and performied their duet, "Transcending Fluctuation," set to an original score by Peter Gonzales. These dancers like so many Cal Arts graduates moved with a fluidity and articulate grace that I have come to expect from that dance program. Their ability to move energy between them became the thematic center for the piece and was captivating to watch. Their sensitivity to each other in movement and energy made this piece a success for me.
Shoji Yamasaki created his solo "Illumination" around the use of a standing lamp. You know the ones with the three bulbs that we all had (or have) in our dorm rooms or offices! He played with the directed light, manipulating it to shine around the entire performance space including the audience. The piece opened with his reading. . . and then eating a newspaper! It seems that the illumination was not just about light, but perhaps about information and knowledge as well. Thus in consuming the newspaper we was ingesting greater awareness. Perhaps enlightenment? I enjoyed how this piece was crafted around the lighting special, calling me back to time of pure experiment with the theatrical components of dance as well as the movement itself.
Laura Laser choreographed the duet "The Battle" performing with Sacha Senisch. This piece based on a tribal figure and a birdlike character was particular evocative for me because just earlier that day I had gone for a walk and witnessed a red tailed hawk up close and personal. The dancers performed with strong line and powerful athleticism. The battle did not seem to be external, but rather an internal investigation of the bird spirit with each individual and our need to let it soar free.
Cherise Richards palpably moved the audience with her stunning solo, "Will and Waves," which involved strong capoiera influences as well as surfing and water imagery. It was a personal journey of self reflection that was made extra special by the use of her own shadows on the white back drop (a coincidental boon that worked perfectly). The shadows reinforced the imagery of self discovery and reflection. Richards is a commanding and powerful performer who was able to use her strengths as a mover to tell a deeply sensitive story.
"Interface" was a trio choreographed by Taryn Wayne. Performed by Laura Smyth, Sarah Bennett and Wayne herself. This performance took the show toward a more contemporary jazz feel, utilizing expressive gesture, powerful leaps, kicks and turns as the dancers wove in and out of the space in waves. The club-like dance feel of the accompaniment was a clear hit for the audience that couldn't help but groove a little in their seats.
Stephanie Zatel performed "Fixed Movement," a spooky solo set to the live music composed and performed by Louis Lopez. Dancing on a small table, this piece made me a little nervous as she balanced right at the edge in an extended relevé. The nature of the piece was less clear for me, but Zatel's use of stillness set this piece apart and added to the unnerving nature of the piece. Only after she began using the small table as her own barricade of protection did I really start to match the spookiness of the music, movement and stark use of her emotional landscape.
My piece (Megill & Company) performed "Pulled" next. In contrast to the other pieces, I see just how different my theatrical bias is for some current trends. This piece is sort of psycho-thriller set in dance. I created it to contrast all the humor and levity in the MeCo repertory, but out of context, it was eerie to see. Despite a little lighting malfunction, it went well. At least I think it did-- I was in it so of course I couldn't get the full effect. . .
Next, Ingrid Graham performed her solo "Artemis," leaving the audience in pure awe of her physique and technical background. There weren't bios in the program, but I can only imagine that before coming here from NY she received training in Horton and the Ailey style. She was a goddess on stage. Powerful. Regal. Impeccable.
Jordan Saenz performed her solo "through the blood, bone and muscle" to another original music by Peter Gonzales. This piece stood out for its detailed musicality that perfectly reflected Gonzalez' electronic score. Saenz' movement is mesmerizing ebbing and flowing through her body that seemed at times to be made of rubber due to the way it arced and slinked its way through the space. Saenz is a highly articulate mover whose style blends both hip hop and contemporary modern into a very hip and very personal style that I can still recall in my memory (but could never hope to recreate on my own body because of its elusive nature).
The show closed with another male female duet, "Visitor" co-choreographed and performed by Laura Ann Smyth and Mark Tomasic and set to a spooky remake of Britney Spears' Toxic by Yael Naim. Unlike the first duet, this duet was not a romantic escapade, but seemed more like a tortured memory of a couple faced with the demise of their relationship. The movement was loosely based in Jazz dance, however, kept a fresh and unique voice that is often unseen in current jazz dance choreography. The musicianship of both dancers was clear in their solo and unison movement and created a believable tension that ended with a thriller ending.
As a whole, this event was what I want dance events in LA and Ventura to be. Unlike other festivals, I noticed a clear artistic and personal maturity in all of the performances in this show and from the audience as well. The relaxed environment made for an extremely friendly and supportive environment and the works themselves were very evocative for me as an artist and teacher. Special thanks to the owners and producers Karen Quick and Jennifer Vaughn who have started something very special with this project.
I highly recommend you check out Live at LALA next time around!
Saturday, September 1, 2012
MixMatch Run Down (Friday Aug 31st, 2012)
Another great show in the 6th Annual MixMatch festival. This time with a completely different feel and composition of styles and trends from the shoes last week. (Reviews for those shows here: Saturday 25th, Sunday 26th).
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Here are a few of my thoughts on each piece to help foster discussion and support for dance artists in the LA community and beyond. Please feel free to comment and add share your ideas and observations!
Act I
The show opened with a piece by Sara Kempe entitled, "I Wish I Were a Punk Rocker." The cast of all women in floral dresses nicely executed this lyrical/contemporary jazz piece. There was strong use of musicality and nuance in the choreography. The dancers' unison was quite strong and highlighted by their smiling focus that was committed and enjoyable.
Jenni Kiiholma choreographed and performed in the next duet, "What is most durable in the world." Kiiholma is a beautiful mover and her agility and flow was a pleasure to watch through out the piece set to Tool and the Deftones. There was a patience and stability in Kiiholma's performance that I found refreshing. Her partner shared this aesthetic of clear intent, ease and strength. The question that emerged for me was regarding the relationship between the two dancers. The introduction of the male dancer happened quite a while into the piece, and I wondered about the reasoning behind this as well as the nature of their transition into dancing together. Nevertheless, I was so pleased with the quality of the dancers' movement that this question did not detract from my enjoyment.
"The Eyes of the World" choreographed by Alexandra de Ochoa of Blackbird Dance Company, introduced a more tribal (Africanist) aesthetic to the show which by chance would resurface again and again in other works. This particular piece was very clearly animal influenced as the dancers crouched and circled each other between phrases of fluid spines and rhythmic stepping. The "cat" was a particularly engaged performer, believable in her conviction and presence. I enjoyed the rhythmic walking pattern with a scoop of the arm that added to the Africanist groove of the piece.
Jessica Kondrath presented a beautiful excerpted solo danced by Devon Reurekamp, entitled "The Art of Breathing." This piece was elegantly designed with awareness to both time and space that captivated the audience. Kondrath has a special ability to draw the audience's focus where she wants us to look so that we really notice the beauty in Kondrath's choreographic detail. The performer did justice to these moments with a patience and clarity that was mesmerizing.
"The Story of Mulan" choreographed by Mary Ann Van De Car and Members of Troupe Zachareet was quite a show, complete with ornate costumes, fans and swords as props, belly dancing coin skirts and break dancers! This performance group clearly loves to dance and there was a strong sense of community among this mixed racial and multi-generational cast. The b-boys were particularly enjoyable for me.
The act closed with Amanda Hart's "Flex/Pull," the duet I saw last week, which you can read about here.
Act II
Ami Mattison choreographed "These Letters" which opened the second half of the show. This quartet was a perfect example of where contemporary jazz practices have evolved. The quartet was powerful, sexy, and expressive. The dancers were generous in their performance of the challenging material and their attention to dynamic nuance. The theatrical component of the piece included letters that the dancers crumpled up and threw around in a variety of choreographic situations. This use of paper transformed the piece into a theatrical work that was truly enjoyable for me. (Note: I imagine that Mattison might call her work contemporary rather than contemporary jazz, but I wanted to note that this style is different than contemporary in the modern dance genre thus the inclusion of jazz in my categorization of her work).
CHIHIRO KODAMA knocked the socks off of the crowd with his piece, "Re-Construction." This production (for in fact it was the most theatrically complex piece of the evening) was well crafted and nothing short of a total blast. The crew of dancers each had incredible skill that was played perfectly in the loose narrative of a man in his electronic world. The unison moments were excellently timed and the soloing was jaw dropping. The incorporation of video, magic, acting, flashlights, red light balls, hats and canes made this piece a true stand out.
"Beguiled in the Bajou" choreographed by Maura Townsend of Project21Dance returned the audience to a groove in the Africanist aesthetic that was reminiscent of Katherine Dunham and Alvin Ailey. This expressive modern dance included a cast of 7 dancers who filled the stage with their "cool" Luisiana energy as they performed with a sense of release, abandon and musicality that makes this style of dance a joy to watch. The featured female in all white seemed to be conjuring the spirt of the other dancers, whipping them into a frenzy of fluid spines, powerful legs and expressive torsos.
Irene Watson, brought laughs to the stage in her playful and outright funny duet entitled "Ooohdalollie." Watson, measuring up at what I imagine can be no more than 5 feet, and her tall partner, who seemed to tower over her, were funny from the start. The over sized lollipop that changed hands countless times as they fought over it, seemed to me to be the real heart of the piece. In some ways the lollipop seemed to have a mind of its own and its presence was the sole reason for the incredible and funny movement that came out of the dancers. The way her partner, Jarred Laos, flung her about in there pink petticoat was a hoot.
Noelle Andressen presented her third piece in the festival "Emergence." This group piece utilized sheer sacks in which the dancers started with illumination from a flameless tea light. The sacks were then taken off and wrapped around the dancers into sarong style dresses or skirts, thus literally conveying the title concept of emergence. I wonder however if the theme of emergence could be taken further; this group of dancers that included a variety of technical levels and body shapes were also emerging from the stereotypes of what types of bodes and what levels of experience are needed to create dance works. One of the most stunning moments for me was a very simple slow walk that was performed in the background of the piece by two of the dancers. The dancers' focus in this very simple choreographic moment was beautiful for me and proved again that dancers of all levels and body types deserve an opportunity to express themselves through movement.
My piece "Pull & Draft" (Megill & Company) was second to last in the concert. My trio of dancers performed very well considering it is a "big" dance that didn't quite fit on the very small Miles Memorial stage. But, it is a good lesson for me to learn as a choreographer. I need to choose works that fit in the performance space otherwise they cannot be done justice. With that said I am particularly proud of the dancers Leah Craig, Nathan Burdine and Brooklynn Reeves for managing to dance so fully and so musically within the confines of that performance space. For me that is a mark of true professionalism.
The show closed with a jaw dropping solo by Thomas Tsai entitles "MEAN". Thomas entered form the house, walking down to the stage before jumping up and beginning his monologue of words and movement. His b-boy background knitted seamlessly with a the modern dance sensibility of performing to spoken word. I just don't know how he kept his breath while flipping, swirling, rolling and stalling his way through the piece. His incredible feats of strength and balance challenged me to keep equal focus on the words. I was so captivated with his movement that I had to force myself to keep listening to what he was saying. And, when I did, I noticed how his words also swirled, and rolled and stalled just like his body. It was a stunning work. And, the audience showed its appreciation with thunderous applause.
Two more shows left in this festival. Come out and show your support for dance in our community.
Sunday, August 26, 2012
MixMatch Run Down (Aug 26th, 2012)
As stated in my last blog, I am currently trying my hand as a dance writer in hopes of encouraging more discussion about dance and also growing the awareness of what is currently available for dance lovers in the Southern California region. Today was the 3rd performance of the 6th Annual MixMatch Dance Festival at the Miles Memorial Playhouse in Santa Monica. While I was not able to see the entire show because I was also performing, I managed to see most of it and wanted to share my impressions of the fantastic matinee performance.
Act I
The matinee opened with "No, Seriously" choreographed and performed by Molly Mattei. Beautifully performed, this dance was a versatile mix of dynamic energies that swept me away. I found her performance to be intoxicating with its use of subtle timing, musical phrasing and articulate movements. This piece is a wonderful representation of contemporary American dance which blends styles seamlessly, balancing traditional technique with more urban vocabulary and personal expression.
Amanda Hart, the Artistic Director of the MixMatch festival and HartPulse Dance, presented a beautifully performed quartet, "Spoons." I imagine the title represented the metaphor of two souls finding each other and fitting together like spoons. In this piece, the two duets worked in and out of each other, continually moving the focus of the audience member before finally returning to the original pairs, holding and hands as seemed inevitable.
Noelle Andressen, Artistic Director of Rubans Rouge, performed her first solo work "Decision." I know it was her first work because she told me! Noelle is a former student of mine from Moorpark College, and I couldn't be more impressed with her growth. She has proven to me that perseverance above all is the most important. This solo was dynamic and emotive with its strength residing in grounded leg stances and articulate gestures of the arms and torso. She danced around and finally into a pile of rose petals, signaling to me a deflowering of the character that matched the title beautifully.
"In this Shirt" choreographed by Meghan Tobin and Felicia Guzman of LA Unbound was an ensemble piece that included women in yellow dresses and a featured male figure. I enjoyed the challenge of the technique and expressive demand of the piece. It opened with a stunning duet in a very classical ballet style with beautiful line and balance. I was left with a few questions, particularly about the title of the piece and the relationship of the featured male dancer with the rest of the ensemble (which included just one other male). But despite my questions, it was clear to me that these dancers dance hard for their passion.
Kim T. Davis of ktdavisdance stole the stage again in today's performance of "Without...", a trio of one woman and two men. Unlike her piece yesterday, this trio was more aggressive, with the three dancers taking turns, supporting, holding, pushing and propelling each other through space. The performance was exquisite. These dancers performed their impressive partnering with an ease that seemed to suspend the laws of gravity while completely evoking them. The choice in cast was significant for me. All three had light hair and skin complexions, but differed greatly in height. This created a sense of them being siblings that I could not shake. As the "middle" brother fought for independence, it seemed only natural that the others had no choice but to let him be and to go on without.
Sadly I was unable to see the last piece of Act I, "Lifeline" by Leverage Dance and choreographed by Tawny Chapman. I did see part of it in tech but I don't feel comfortable giving feedback because I was unable to see it in it entirety and with complete focus. So, if anyone has a link to this piece online please do post it in the comments so other readers can appreciate the work!
Act II
"Cicatrix," choreographed by Heather Dale Wentworth and performed by her Carlsbad based company, OPUS MIXTUS dance, was one that I saw in tech rehearsal and then again from the side lines as I waited backstage. A powerful group of dancers with strong lines and facile bodies made this dance a pleasure to watch. Wentworth incorporated the use of black elastic bands around the dancer's waists, thighs, wrists and ankles. At first, it seemed simply a pleasant design elements, but then the elastic bands were manipulated and shared by the dancers as they wove in and out of each others space before finally coming together, bound to each other in the last moment of the piece. Not knowing what a cicatrix is, I did what any good blogger would do and googled it! It turns out a cicatrix is a scar and this new information leaves me wondering: were the dancers the cells coming together to heal a wound? It makes sense to me in retrospect, but I would want to see the dance again to determine if that connection is grounded in the rest of the piece.
Next came something COMPLETELY different, a piece I performed in with poet performer Joelle Hannah called "A Dance for the Guy in the Blue Button Down Shirt." Because it is not fair to critique your own piece, I will leave that up to you and invite you to check out a performance of the piece from the Razor Babes poetry tour last May. You can determine for yourself whether it was brilliance, madness or a bit of both.
"Variations on a Theme of Trees" was another piece that I was only able to see in tech rehearsal. But I did watch it in its entirety and what I can say about it is this: this piece was well designed from a theatrical perspective, incorporating interesting props including painted images of a tipping building, large tree branches attached to back harnesses, fabric covered fans, chairs and a metal tower. It created an environment that went beyond the dance. As for the modern dance movement vocabulary, it reminded me of work I have seen in festivals in Mexico, and it seems that the choreographer Beatriz E. Vasquez is Latina, so it makes me wonder whether there is a genre of Latin American Modern dance, that needs recognition in the current cannon of dance practices. The style was sculptural and thematic, utilizing strong ballet partnering that was never purely classical, but rather revealed the dancers strong technique as they portrayed an abstracted narrative through line and shape.
"Polymorphic" choreographed by Erica Villalpando of Nanette Brodie Dance Theater lent a yogic feel to the stage as the female cast elegantly performed partial sun salutations, yogic stretches and impressive feats of strength and flexibility. The dancers wore geometrically designed aqua and red costumes, that matched the geometry of the red boxes they used as props. The use of the red boxes added an element of height to the stage space when it was used as a pedestal for the female figures. The dance began slowly, but by the end it found an engaging pace as the dancers moved on and off the red boxes in swirling patterns of leaps and assisted lifts. Overall this was a visually dynamic piece.
Sophie Olsen brought a bit of theater (as well as excellent dancing) to the stage with "Rollerskater" performed by Carole Biers. This fun and quirky solo was short and sweet. Bier's focus was essential to the success of the piece as she was able to draw in the audience to her playful games. She interacted with the space by addressing a mysterious something in the air, playfully picking it out of space and dropping it into her pants for safe keeping. Could it have been a key that was referred to in the song? I imagine yes.
Arpana Dance Company brought the house down with its joyous classical Indian dance piece "Aikya" choreographed by Ramya Harishankar. The brilliance of the piece was that the classical Indian dance vocabulary drove the piece, but was set to a variety of music styles including Anoushka Shankar and Coldplay! These lovely young women were a joy to watch. There is something about the classical Indian dance training that is very potent in capturing the interest and attention of the audience. I think it derives in part from the use of rhythm and specific rhythmic stepping in the choreography. The women stamped and slapped the floor with their feet in beautifully syncopated (and perfectly accurate) rhythms. But in addition to the driving rhythms of the footwork, the dancers authentic joy and clear focus was another factor in engaging the audience. The dancers' joy at the end was intoxicating enticing the audience to a roudy round of applause at the end of the show.
Next week there are three more shows for you to enjoy (MeCo will perform Pull & Draft Friday Aug 31st and Won't Let Go Sept 2nd). Don't miss out of this performance that offers something for everyone and celebrates the love and diversity within the world of dance!
Act I
The matinee opened with "No, Seriously" choreographed and performed by Molly Mattei. Beautifully performed, this dance was a versatile mix of dynamic energies that swept me away. I found her performance to be intoxicating with its use of subtle timing, musical phrasing and articulate movements. This piece is a wonderful representation of contemporary American dance which blends styles seamlessly, balancing traditional technique with more urban vocabulary and personal expression.
Amanda Hart, the Artistic Director of the MixMatch festival and HartPulse Dance, presented a beautifully performed quartet, "Spoons." I imagine the title represented the metaphor of two souls finding each other and fitting together like spoons. In this piece, the two duets worked in and out of each other, continually moving the focus of the audience member before finally returning to the original pairs, holding and hands as seemed inevitable.
Noelle Andressen, Artistic Director of Rubans Rouge, performed her first solo work "Decision." I know it was her first work because she told me! Noelle is a former student of mine from Moorpark College, and I couldn't be more impressed with her growth. She has proven to me that perseverance above all is the most important. This solo was dynamic and emotive with its strength residing in grounded leg stances and articulate gestures of the arms and torso. She danced around and finally into a pile of rose petals, signaling to me a deflowering of the character that matched the title beautifully.
"In this Shirt" choreographed by Meghan Tobin and Felicia Guzman of LA Unbound was an ensemble piece that included women in yellow dresses and a featured male figure. I enjoyed the challenge of the technique and expressive demand of the piece. It opened with a stunning duet in a very classical ballet style with beautiful line and balance. I was left with a few questions, particularly about the title of the piece and the relationship of the featured male dancer with the rest of the ensemble (which included just one other male). But despite my questions, it was clear to me that these dancers dance hard for their passion.
Kim T. Davis of ktdavisdance stole the stage again in today's performance of "Without...", a trio of one woman and two men. Unlike her piece yesterday, this trio was more aggressive, with the three dancers taking turns, supporting, holding, pushing and propelling each other through space. The performance was exquisite. These dancers performed their impressive partnering with an ease that seemed to suspend the laws of gravity while completely evoking them. The choice in cast was significant for me. All three had light hair and skin complexions, but differed greatly in height. This created a sense of them being siblings that I could not shake. As the "middle" brother fought for independence, it seemed only natural that the others had no choice but to let him be and to go on without.
Sadly I was unable to see the last piece of Act I, "Lifeline" by Leverage Dance and choreographed by Tawny Chapman. I did see part of it in tech but I don't feel comfortable giving feedback because I was unable to see it in it entirety and with complete focus. So, if anyone has a link to this piece online please do post it in the comments so other readers can appreciate the work!
Act II
"Cicatrix," choreographed by Heather Dale Wentworth and performed by her Carlsbad based company, OPUS MIXTUS dance, was one that I saw in tech rehearsal and then again from the side lines as I waited backstage. A powerful group of dancers with strong lines and facile bodies made this dance a pleasure to watch. Wentworth incorporated the use of black elastic bands around the dancer's waists, thighs, wrists and ankles. At first, it seemed simply a pleasant design elements, but then the elastic bands were manipulated and shared by the dancers as they wove in and out of each others space before finally coming together, bound to each other in the last moment of the piece. Not knowing what a cicatrix is, I did what any good blogger would do and googled it! It turns out a cicatrix is a scar and this new information leaves me wondering: were the dancers the cells coming together to heal a wound? It makes sense to me in retrospect, but I would want to see the dance again to determine if that connection is grounded in the rest of the piece.
Next came something COMPLETELY different, a piece I performed in with poet performer Joelle Hannah called "A Dance for the Guy in the Blue Button Down Shirt." Because it is not fair to critique your own piece, I will leave that up to you and invite you to check out a performance of the piece from the Razor Babes poetry tour last May. You can determine for yourself whether it was brilliance, madness or a bit of both.
"Variations on a Theme of Trees" was another piece that I was only able to see in tech rehearsal. But I did watch it in its entirety and what I can say about it is this: this piece was well designed from a theatrical perspective, incorporating interesting props including painted images of a tipping building, large tree branches attached to back harnesses, fabric covered fans, chairs and a metal tower. It created an environment that went beyond the dance. As for the modern dance movement vocabulary, it reminded me of work I have seen in festivals in Mexico, and it seems that the choreographer Beatriz E. Vasquez is Latina, so it makes me wonder whether there is a genre of Latin American Modern dance, that needs recognition in the current cannon of dance practices. The style was sculptural and thematic, utilizing strong ballet partnering that was never purely classical, but rather revealed the dancers strong technique as they portrayed an abstracted narrative through line and shape.
"Polymorphic" choreographed by Erica Villalpando of Nanette Brodie Dance Theater lent a yogic feel to the stage as the female cast elegantly performed partial sun salutations, yogic stretches and impressive feats of strength and flexibility. The dancers wore geometrically designed aqua and red costumes, that matched the geometry of the red boxes they used as props. The use of the red boxes added an element of height to the stage space when it was used as a pedestal for the female figures. The dance began slowly, but by the end it found an engaging pace as the dancers moved on and off the red boxes in swirling patterns of leaps and assisted lifts. Overall this was a visually dynamic piece.
Sophie Olsen brought a bit of theater (as well as excellent dancing) to the stage with "Rollerskater" performed by Carole Biers. This fun and quirky solo was short and sweet. Bier's focus was essential to the success of the piece as she was able to draw in the audience to her playful games. She interacted with the space by addressing a mysterious something in the air, playfully picking it out of space and dropping it into her pants for safe keeping. Could it have been a key that was referred to in the song? I imagine yes.
Arpana Dance Company brought the house down with its joyous classical Indian dance piece "Aikya" choreographed by Ramya Harishankar. The brilliance of the piece was that the classical Indian dance vocabulary drove the piece, but was set to a variety of music styles including Anoushka Shankar and Coldplay! These lovely young women were a joy to watch. There is something about the classical Indian dance training that is very potent in capturing the interest and attention of the audience. I think it derives in part from the use of rhythm and specific rhythmic stepping in the choreography. The women stamped and slapped the floor with their feet in beautifully syncopated (and perfectly accurate) rhythms. But in addition to the driving rhythms of the footwork, the dancers authentic joy and clear focus was another factor in engaging the audience. The dancers' joy at the end was intoxicating enticing the audience to a roudy round of applause at the end of the show.
Next week there are three more shows for you to enjoy (MeCo will perform Pull & Draft Friday Aug 31st and Won't Let Go Sept 2nd). Don't miss out of this performance that offers something for everyone and celebrates the love and diversity within the world of dance!
Friday, April 20, 2012
Dance Review: Choreographer's Showcase at the Pasadena Dance Festival
Last night Megill & Company performed as part of the 5th annual Pasadena Dance Festival in the Choreographer's Showcase held at Lineage Performing Arts Center. The following are a few of my reflections on the wonderful performances given.
The evening of dance opened with a stunning work by Clairobscur Dance Company under the direction of Laurie Sefton entitled Obviam Somes. The five dancers were stunning dressed in blue and sea foam gorgette gowns that elegantly evoked the hospital and surgery themes of the dance. The excerpts presented were varied and dynamic, at times soothing and serene as well as powerful, dramatic and athletic. The dancers' technique was exquisite. Sefton's highly defined movements and fluid use of space was punctuated by moments of repetitive rolls and springs that were executed with finesse and power. Overall I appreciated the narrative of the piece as well as the dynamic vocabulary and excellent use of the dancer's facility.
Nancy Even's Dance Theater presented SHIFT: Shifting Sands - Age vs. Time set to an original score by Blake Colie. This female duet had a playful balance between modern dance technique and a more theatrical tone. The female dancers were convincing in their at-odds-characters who battled over the grip of time and age represented with cloaks which they manipulated through the space with ease. The swirling visual impressions of the cloaks is what will stick with me the most from this piece, although there were powerful moments of partnering between the two dancers as one dominated and controlled the other with a knowing attitude. The piece ended with a theatrical moment in which one dancer grabbed her discarded cloak before exiting. Was it in resignation? Frustration? Defiance? Whatever the impulse it was clear that she had been won, and she was not happy.
87 Dance Productions stood out from the rest of the evening with its use of oral histories (spoken interviews) that underscored thoughtful and well crafted choreography that ranged from beautifully touching to playfully articulate. Choreographed by Cara Hagan of North Carolina, the duet entitled Words Apart was performed by two sisters. Twins! But, they were visually and energetically very distinct and offered a depth to the piece that brought additional elements of nostalgia and family dynamics to the work. The partnering was precise and the storytelling never cliché or overwrought. The dance and words flowed together seamlessly making for a dance that was perfectly balanced and always engaging.
Megill & Company (MeCo) was next and of course it wouldn't be fair to go on and on about my own choreography. Plus, I do enough of that in other blog entries. But it was shared with me by Lineage Dance Artistic Director Hillary Thomas that she enjoyed the "punch" of the choreography in the evening's performance. I agree that the piece was unlike others in tone, quality and design. By contrast it was much more linear and contemporary (jazz) in feel. So, I was pleased that it didn't get lost in the shuffle. Although, it has brought me to reconsider my strengths and fears as a choreographer. More to come on that later. . .
Andrew Pearson presented a cool and hip female duet called Have I Made Myself Clear? that incorporated a folding table and two chairs. The opening of the piece is what I appreciated most about it. One girl taps her fingers on the plastic table top creating a live pulse for the other dancer to present the thematic material for the dance. I enjoyed the simplicity of the moment and the gestural qualities of the movement vocabulary. Playful sequences in which the two dancers interacted with their gestures was engaging and fun. I enjoyed watching the themes and motifs be reused and varied through out the work. The one question I had was about the role and purpose of the table and chair that got lost for me in the rest of the choreography after the opening sequence. Perhaps because the components were spread out on the stage and thus lost their impact as a unit.
Return from HJ Junction by David Popalisky was a refreshing piece in the concert because it truly managed to transport me to another time and place. In many ways I felt like it was a period drama done in dance. The trio of dancers were passionate and engaging for me. In this dance more than any other of the evening, I felt like the dancers were truly dancing from the heart, letting technique serve them but not drive them. In fact, this was the one piece in which I felt "technique" was unimportant and instead I was watching the story and the characters unfold. This may be haven been due to the more classical modern dance vocabulary and story telling that reminded me of the works of Humphrey and Weidman. Overall, I enjoyed the musicality, classical modern dance vocabulary and story telling aspects of this work.
Soloist Lindsey Lollie performed a captivating piece set to spoken word by Paul Matthis. The Next Step is To Go Back was an experiment in the physics of the body that was engaging and at times confounding to watch. Lollie performed her work with remarkable ease and control. Utilizing the most contemporary release techniques with a fluency I really admire. Her opening inversion and subtle head movements set up her physical strength and agility that did not wane throughout the piece.
Brian Moe's newly formed group, Inked Dance, performed a duet entitled Kinetic Residue. True to its name the dancers were in fact "inked" which made me wonder if someone wanted to dance with them who wasn't tattooed, if they would be shunned or forced to ink up! (haha!) But, tattoos aside the male female duet was an excellent study in partnering that was most enjoyable in its daring moments (like the counterbalanced penché with no arms!). The title idea of kinetic residue was less present for me than the more gymnastic partnering was, leaving me to wondering how the two fit together for the choreographer.
I am so pleased, Megill & Company was able to perform with such outstanding artists. It is always such a joy to see other people's work which inspires and drives me to explore more deeply my own choreographic endeavors. Thank you and congratulations to all who choreographed and performed.
(Please Note: I write this in the spirit of supporting dance and dance artists in the greater LA community. Any questions or concerns I express are merely observational and do not diminish the creative accomplishments of the works presented, but are simple reflections on what I saw and noticed.)
Please friend Megill & Company on Facebook to stay up to date on our latest performances!
The evening of dance opened with a stunning work by Clairobscur Dance Company under the direction of Laurie Sefton entitled Obviam Somes. The five dancers were stunning dressed in blue and sea foam gorgette gowns that elegantly evoked the hospital and surgery themes of the dance. The excerpts presented were varied and dynamic, at times soothing and serene as well as powerful, dramatic and athletic. The dancers' technique was exquisite. Sefton's highly defined movements and fluid use of space was punctuated by moments of repetitive rolls and springs that were executed with finesse and power. Overall I appreciated the narrative of the piece as well as the dynamic vocabulary and excellent use of the dancer's facility.
Nancy Even's Dance Theater presented SHIFT: Shifting Sands - Age vs. Time set to an original score by Blake Colie. This female duet had a playful balance between modern dance technique and a more theatrical tone. The female dancers were convincing in their at-odds-characters who battled over the grip of time and age represented with cloaks which they manipulated through the space with ease. The swirling visual impressions of the cloaks is what will stick with me the most from this piece, although there were powerful moments of partnering between the two dancers as one dominated and controlled the other with a knowing attitude. The piece ended with a theatrical moment in which one dancer grabbed her discarded cloak before exiting. Was it in resignation? Frustration? Defiance? Whatever the impulse it was clear that she had been won, and she was not happy.
87 Dance Productions stood out from the rest of the evening with its use of oral histories (spoken interviews) that underscored thoughtful and well crafted choreography that ranged from beautifully touching to playfully articulate. Choreographed by Cara Hagan of North Carolina, the duet entitled Words Apart was performed by two sisters. Twins! But, they were visually and energetically very distinct and offered a depth to the piece that brought additional elements of nostalgia and family dynamics to the work. The partnering was precise and the storytelling never cliché or overwrought. The dance and words flowed together seamlessly making for a dance that was perfectly balanced and always engaging.
Megill & Company (MeCo) was next and of course it wouldn't be fair to go on and on about my own choreography. Plus, I do enough of that in other blog entries. But it was shared with me by Lineage Dance Artistic Director Hillary Thomas that she enjoyed the "punch" of the choreography in the evening's performance. I agree that the piece was unlike others in tone, quality and design. By contrast it was much more linear and contemporary (jazz) in feel. So, I was pleased that it didn't get lost in the shuffle. Although, it has brought me to reconsider my strengths and fears as a choreographer. More to come on that later. . .
Andrew Pearson presented a cool and hip female duet called Have I Made Myself Clear? that incorporated a folding table and two chairs. The opening of the piece is what I appreciated most about it. One girl taps her fingers on the plastic table top creating a live pulse for the other dancer to present the thematic material for the dance. I enjoyed the simplicity of the moment and the gestural qualities of the movement vocabulary. Playful sequences in which the two dancers interacted with their gestures was engaging and fun. I enjoyed watching the themes and motifs be reused and varied through out the work. The one question I had was about the role and purpose of the table and chair that got lost for me in the rest of the choreography after the opening sequence. Perhaps because the components were spread out on the stage and thus lost their impact as a unit.
Return from HJ Junction by David Popalisky was a refreshing piece in the concert because it truly managed to transport me to another time and place. In many ways I felt like it was a period drama done in dance. The trio of dancers were passionate and engaging for me. In this dance more than any other of the evening, I felt like the dancers were truly dancing from the heart, letting technique serve them but not drive them. In fact, this was the one piece in which I felt "technique" was unimportant and instead I was watching the story and the characters unfold. This may be haven been due to the more classical modern dance vocabulary and story telling that reminded me of the works of Humphrey and Weidman. Overall, I enjoyed the musicality, classical modern dance vocabulary and story telling aspects of this work.
Soloist Lindsey Lollie performed a captivating piece set to spoken word by Paul Matthis. The Next Step is To Go Back was an experiment in the physics of the body that was engaging and at times confounding to watch. Lollie performed her work with remarkable ease and control. Utilizing the most contemporary release techniques with a fluency I really admire. Her opening inversion and subtle head movements set up her physical strength and agility that did not wane throughout the piece.
Brian Moe's newly formed group, Inked Dance, performed a duet entitled Kinetic Residue. True to its name the dancers were in fact "inked" which made me wonder if someone wanted to dance with them who wasn't tattooed, if they would be shunned or forced to ink up! (haha!) But, tattoos aside the male female duet was an excellent study in partnering that was most enjoyable in its daring moments (like the counterbalanced penché with no arms!). The title idea of kinetic residue was less present for me than the more gymnastic partnering was, leaving me to wondering how the two fit together for the choreographer.
I am so pleased, Megill & Company was able to perform with such outstanding artists. It is always such a joy to see other people's work which inspires and drives me to explore more deeply my own choreographic endeavors. Thank you and congratulations to all who choreographed and performed.
(Please Note: I write this in the spirit of supporting dance and dance artists in the greater LA community. Any questions or concerns I express are merely observational and do not diminish the creative accomplishments of the works presented, but are simple reflections on what I saw and noticed.)
Please friend Megill & Company on Facebook to stay up to date on our latest performances!
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