Dancers Trending

GroundWorks DanceTheater

GroundWorks DanceTheater // Trinity Cathedral // Cleveland, OH // November 12–13, 2010 // Reviewed by Steve Sucato


GroundWorks DanceTheater in Just Yesterday by Dianne McIntyre and Olu Dara. Photo by Dale Dong. Courtesy GroundWorks.

 

A wall of gilded pipes from Trinity Cathedral’s 18th century–style great organ rose above dancer Sarah Perrett as she moved along a diagonal corridor of light as if walking a tightrope. Three other dancers joined her on the portable stage, briskly walking to collide into one another with jolting chest bumps. This opening volley of non-traditional dance movement set the tone for choreographer Jill Sigman's new work Split Stitch.


Set to a score by composer Gustavo Aguilar, Sigman’s Split Stitch unfolded as a non-narrative collage of eclectic movement that had the GroundWorks dancers’ heads in the air, walking about smacking their lips like goldfish in search of a meal, twitching and convulsing, powering through riffs of classical ballet phrases, and popping themselves off the floor in rigid prone positions while dancer Damien Highfield shouted out counts. Despite its disparate movement phrases, Split Stitch never appeared chaotic. Through her expert arrangement of stylistically schizophrenic choreography, Sigman built tension as if holding us witness to dancers gone mad. The work concluded with dancer Felise Bagley repeatedly lifting one leg in retiré and eerily whispering the words “lovely, gently and nice” over and over.


The duet DnA, by artistic director David Shimotakahara and departing artistic associate Amy Miller, poignantly reflected on the pair’s 10-plus-year working relationship in the company. The piece revisited phrases from the pair’s prior works and touched on the emotions of their close friendship. In one moving scene, the two of them tussle and Shimotakahara blocks Miller’s forward motions as if saying to her “please don’t leave.”

 

The wonderfully performed program closed with Dianne McIntyre’s choreo-drama Just Yesterday. McIntyre integrated dance with spoken word and singing to form the work’s narrative, a powerful story about family and remembrance.


Set to an original composition for two guitars by Olu Dara, McIntyre’s longtime collaborator, the work's six dancers related childhood and family stories. Recalling memories of their parents’ hobbies and favorite foods, they mimicked riding motorcycles, rubbed their stomachs making “mmm…” sounds, and engaged in horseplay like oversized children.


The work’s most riveting recollection was of Shimotakahara’s grandfather, a Japanese immigrant, whose quest for the American dream came crashing down during World War II when he and his family were forced into an internment camp. Shimotakahara’s tortured solo, danced to narration of the story and Japanese song, was chilling.

Show Comments ()
Cover Story
Alice Sheppard photographed by Jayme Thornton for Dance Magazine

It can be hard to focus when Alice Sheppard dances.

Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.

And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.

Keep reading... Show less
Get the print edition!
Dancer Voices
Yuka Oba, Ednis Ariel Gomez Mallol and Connie Flachs in Swing by Olivier Wevers. Photo by Ryan Jackson, courtesy Flachs

"I'm sorry, but I just can't possibly give you the amount of money you're asking for."

My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.

Keep reading... Show less
Dancers Trending
"Off Kilter" has real dancers playing dancers. Still courtesy CBC Arts

"It just...always looks better in my head."

While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.

We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.

Keep reading... Show less
News
The Broadway revival of CATS. Photo by Matthew Murphy

A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.

We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.

Keep reading... Show less
Popular
Stagestep's Encore hardwood flooring for full-service broadcast production facility, dance center and venue, Starwest, in Burbank, CA.

What is the right flooring system for us?

So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.

Keep reading... Show less
Dance Training
Being focused on one style eventually gave Al Blackstone more opportunities. Photo by Daryl A. Getman, Courtesy Blackstone

These days, everyone tells you how important it is to be versatile. But what if you're convinced there's just one style that's right for you? It can be tough to balance a deep interest in a single specialty and still meet many choreographers' expectations. Luckily, you don't have to choose between all in or all over the place, as long as you follow your interests thoughtfully.

Keep reading... Show less
Get the print edition!
Breaking Stereotypes
Omar Román De Jesús in rehearsal with Joffrey Academy trainees. Photo by Todd Rosenberg

So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.

Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.

Keep reading... Show less
Dance on Broadway
We suspect it will be...a thriller. Giphy

Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.

The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.

Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.

Keep reading... Show less
Dance on Broadway
In rehearsal for Dreamgirls. Photo Courtesy DM Archives.

Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.

But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.

Keep reading... Show less
It's already on its way to legendary status. (screenshot via YouTube)

Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.

So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?

Read the full story at dancespirit.com.

Get the print edition!
Popular

Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.

One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.

"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."

Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."

Keep reading... Show less
News
MADBOOTS DANCE in MASC. Photo by Scott Shaw, Courtesy Richard Kornberg & Associates

This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.

Keep reading... Show less

Sponsored

Viral Videos

Sponsored

mailbox

Get Dance Magazine in your inbox

Sponsored

Giveaways