Dancers Trending

What It's Like to Dance Lucinda Childs to a Chorus of Ducks and Car Traffic

The Blanket performs Lucinda Childs: The Early Works. Photo by Ben Viatori, Courtesy The Blanket.

Intermittent quacking issued from the Just Ducky Tours amphibious vehicle floating along the Monongahela River. Revolutionary War–era reenactors recreated historical events at Fort Pitt. Bridge traffic rumbled overhead. This ambient symphony at Pittsburgh's Point State Park accompanied The Blanket as the dancers rehearsed and performed Lucinda Childs: The Early Works, a retrospective of four architectural, pedestrian works choreographed by the award-winning, post-modern dance maven between 1975 and 1978.

The Blanket, a project-by-project driven ensemble established in 2016 by Matt Pardo and Caitlin Scranton, aims to enhance Pittsburgh's modern dance community through reconstructions, commissions and collaborations with noted choreographers. Last weekend's presentation, which included Childs' Radial Courses, Katema, Reclining Rondo and Interior Drama, marked its first major presentation, challenging the dancers to perform the intricate choreography originally set to silence in an ambient, unpredictable soundscape.


"At first, I couldn't hear the rhythmic footsteps of the other dancers. I felt like an individual apart from the group," recalls dancer Eric Lobenberg, who had relied on auditory cues developed in-studio. "After several rehearsals, we began to connect with each other in different ways," adds the Point Park University senior.

Lucinda Childs: The Early Works. Photo by Ben Viatori, Courtesy The Blanket.

In rehearsals, the dancers were taught movement phrases from the four works and issued homework—scores with letters and numbers to decipher and memorize. Reconstructing the patterning with castmates, developing an internal meter and acquiring unity provided additional challenges.

"To the untrained eye, it just looks like walking and skipping," says modern dancer/choreographer Jil Stifel. "But there is a lot to think about." Reclining Rondo, a geometric floorwork, consists of a single repeated phrase but requires extremely slow execution, while the angular Katema calls for shifts in counting as well as "walking backwards in opposite directions." Radial Courses demands exacting attention to spatial alignment and its relentless, rhythmic circular pattern. Pardo and Scranton, both exponents of Childs' works, helped ease these challenges.

Lucinda Childs: The Early Works. Photo by Ben Viatori, Courtesy The Blanket.

The three-week rehearsal period was capped with a session conducted by Childs, en route from receiving the Samuel H. Scripps/American Dance Festival Award. "She was gracious," says Stifel.

Adds fellow cast member Bianca Melidor, for whom dancing such rhythmically-specific work in silence was a new challenge, "I learned to trust myself."

News
Amber Star Merkens, Courtesy Mark Morris Dance Group

There's always been something larger than life about choreographer Mark Morris. Of course, there are the more than 150 works he's made and that incisive musicality that makes dance critics drool. But there's also his idiosyncratic, no-apologies-offered personality, and his biting, no-holds-barred wit. And, well, his plan to keep debuting new dances even after he's dead.

So it should come as little surprise that his latest distinction is also a bit larger than life: The New York Landmarks Conservancy is adding Morris to its list of "Living Landmarks."

Keep reading... Show less
Sponsored by Harlequin Floors
Left: Hurricane Harvey damage in Houston Ballet's Dance Lab; Courtesy Harlequin. Right: The Dance Lab pre-Harvey; Nic Lehoux, Courtesy Houston Ballet.

"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.

Keep reading... Show less
Dance History
Martha Graham in Spectre-1914 from Martha Graham's Chronicle. Courtesy of Martha Graham Resources.

Paul Taylor's Post Meridian was last performed 30 years ago, which is well before any of the company's current dancers joined Paul Taylor Dance Company. In fact, it's before some of the dancers were even born. Every step and extreme angle of the body in the dream-like world of the 1965 work will be fine-tuned in the studio for PTDC's upcoming Lincoln Center season. However, the Taylor archive is where Post Meridian began for Eran Bugge.

Keep reading... Show less
News
Dinita Clark. Photo courtesy Cultural Counsel

Philadelphia's Pew Center for Arts & Heritage announced its 2019 grantees Monday evening, and the list included a couple of familiar names: Dinita Clark and David Gordon.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox