An Ode to Comedic Dances
Funny dances are few and far between. I was reminded of that when I saw Alexander Ekman’s laugh-out-loud funny Tulle recently at the Joffrey Ballet. He had a horde of tutu-clad women clomping around—I think the floor was miked—so you heard an exaggeration of the thudding sound you usually politely ignore at the ballet. Another time they walked downstage and peered at the audience, then started whistling the Tchaikovsky theme of the swan corps—almost as if they were saying, “I’m looking right at you. Is this what you want from us?”
The Joffrey Ballet in Tulle by Alexander Ekman, photo by Kara Zimmerman.
We tend to get our dance giggles from YouTube these days, but it takes skill and courage to actually build the laughs into the choreography. So it’s worth mentioning some recent and upcoming examples.
Annie-B Parson’s absurdist The Snow Falls in Winter (2008) brought a surprise dose of laughter to the Graham audience, as pointed out by Siobhan Burke in The New York Times. A dancer bends down to press her face to a tabletop and comes up wearing a fake mustache. Another dancer balances a book on her lifted thigh and when it slips off we hear canned applause. But sometimes it was just the witty timing of reaching for, or pulling away from, an object that could make you laugh.
Another recent moment of humor was provided by Matthew Rushing’s Odetta, premiered by Alvin Ailey American Dance Theater in December. To a charming rendition of “There’s a Hole in the Bucket” recorded by Harry Belafonte and Odetta, two Ailey dancers act out the silliness implied by the lyrics with sassy timing.
Rachael McLaren and Marcus Jarrel Willis of AAADT in Matthew Rushing's Odetta, photo by Mike Strong.
A streak of humor always lightens a season of Paul Taylor’s work. In the Paul Taylor’s American Modern Dance that opens this week, Cloven Kingdom reveals the animal instincts that underlie perfectly civilized people. It makes you guffaw just to realize how Taylor sees human behavior. For more on Paul Taylor’s funnybone, check out Alan Ulrich’s survey of humor in Taylor’s oeuvre.
Robbins' The Concert with Sterling Hyltin, aloft. Photo by Paul Kolnik.
What if there was a way to get your dancing in front of the likes of Desmond Richardson, d. Sabela grimes and Vincent Paterson all at once? Just in case you needed another excuse to break out your best moves this week, the Dare to Dance in Public Film Festival is back, and Richardson, grimes and Paterson are among this year's judges.
Dancers and non-dancers alike are invited to submit short dance films to the international online festival, with one caveat: The dancing has to take place in a public space.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When we're talking about the history of black dancers in ballet, three names typically pop up: Raven Wilkinson at Ballet Russe de Monte Carlo, Janet Collins at New York's Metropolitan Opera and Arthur Mitchell at New York City Ballet.
But in the 1930s through 50s, there was a largely overlooked hot spot for black ballet dancers: Philadelphia. What was going on in that city that made it such an incubator? To answer that question, we caught up with Memoirs of Blacks in Ballet founder (and frequent Dance Magazine contributor) Theresa Ruth Howard, who yesterday released her latest project, a video series called And Still They Rose: The Legacy of Black Philadelphians in Ballet.
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
Last night was not your average Thursday at Bay Ridge Ballet in Brooklyn, New York. Studio owner and teacher Patty Foster Grado—a former Parsons Dance Company dancer—was teaching a boys class, when with only five minutes left, she heard commotion in the waiting area and someone yelled, "There's a lady giving birth in the bathroom!"
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.