Wendy Perron's First Blog
Why Is Naharin's Work So Mesmerizing?
After seeing Ohad Naharin’s Decadance performed by Cedar Lake Contemporary Ballet, you don’t come out of it saying This part was good and that part wasn’t. You come out of it having experienced humanity in a raw state. When Ebony Williams in bizarre feathery get-up on stilts, lip synchs to a song of grunts, sighs, and yells, there is something both artificial and ruthless about the way she uses her whole body and face. The recorded sounds seems to come from her gut, spiced up by a touch of Eartha Kitt and Harpo Marx too. The scene is almost funny, but it’s too mesmerizing to laugh.
Cedar Lake invited Naharin to spend three months with them setting Decadance, which is a compilation of excerpts of previous works. The dancers (all of them technically fantastic) have journeyed deep into themselves to get to a place of rawness. His demands go beyond pretty or beautiful, an aesthetic that is shared with Graham. But the movement sometimes looks like krumping or butoh. I think the hypnotic effect has to do with the vulnerability he encourages in his dancers. It gets to something essential about being human—or even animal. In the beginning, when they line up downstage for an excerpt from Naharin’s Virus, their gloved hands look like paws—until each dancer explodes, one at a time, into their personal version of condensed fury.
Another aspect of Naharin’s work that draws you in is the inventive ways he pulls audience members onto the stage. This time, I was one of those led by the hand to the performing space. I don’t have to tell you that it is quite a mental and physical switch from sitting and watching to being under the lights. My personal guide looked at me with fierce eyes that told me what to do. And yet there was room to play; you felt an instant camaraderie with the other dazed souls onstage. My guide turned out to be Shani Garfinkel, who is actually from Naharin’s Israeli company, Batsheva, and had joined Cedar Lake temporarily as both dancer and his assistant.
The program continues until July 1.
The Mothers Made Me Cry
After seeing various casts of Peter Martins’ Romeo + Juliet and American Ballet Theatre’s Sleeping Beauty—and reading lots of reviews—I feel like the mothers have been overlooked. Everyone talks about the different Juliets and Auroras, but Darci Kistler as Lady Capulet really brought the tragedy home, and Susan Jaffe as the queen was the emotional center of the new Sleeping Beauty.
Kistler gave extravagant weight to her every gesture. She had to practically rond-de-jambe around her huge dress, and she did so with generous sweeping arms. Maybe because of her grandeur, when she reacted to the deaths—first of Tybalt, then of Juliet—you felt the tension between her position in life and her immediate grief.
Susan Jaffe was a noble and radiant Queen. When the King, in a fit of rage, ordered Catalabutte (his chief minister) killed, Jaffe went into slow-motion action to calm him. She took his hand and placed her check tenderly in his palm. That did it. The feeling of her cheek in his hand appeased him, and he could now forgive. It seemed like all is OK in a land where a wife’s touch can bring down a king’s ire. It’s like a little shadowing of the Lilac Fairy mitigating Carabosse’s vengeful death sentence.
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.