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Yerba Buena Center • San Francisco • March 12–28, 2010 • Reviewed by Rita Felciano
With Waving Not Drowning (A Guide to Elegance), choreographer Brenda Way offered audiences dainty needle pricks, while KT Nelson’s Labor of Love cut to the bone. For ODC’s spring season, the two premieres joined repertory works by the co-artistic directors, most notably, from 2009, Way’s In the Memory of the Forest and Nelson’s Grassland.
Taking her inspiration from a French version of Emily Post’s book on etiquette (which was probably outdated even when published in 1963), Way used a blessedly light touch for Waving, a modestly amusing foray into the world of socially imposed codes of behavior. Even Anne Zivolich’s unruly curls were pulled back into a proper chignon. Composer/singer Pamela Z collaged a lush score of vocalizations and readings from the French manual, including a litany of “should’s” that smartly complemented Way’s intricate choreography.
ODC’s intrepid dancers patiently rearranged themselves and each other into stiff-legged mannequins or alluring photo ops. Waving darkened as the men manipulated the acquiescent women in increasingly self-serving ways until a somnolent Vanessa Thiessen woke up and, at the end of an erotically abusive duet, knocked Jeremy Smith into the wings.
Just when you wondered where Way was going to take these depersonalized male/female encounters, she switched gears. Getting even is fair play, Waving suggested. A robust Yayoi Kambara stripped Aaron Perlstein to his skivvies. Then, armed with reams of paper, scissors, and tape, ODC’s women cut, draped, and glued the most fantastical garments on the men. Elizabeth Farotte adorned Corey Brady with a hoop skirt; Thiessen turned Smith into an angel. The results looked almost as good as those on “Project Runway.”
More emotionally involving was In the Memory of the Forest, a haunting evocation of a generation that faced exile from everything they knew. Based on Way’s memories of her Jewish mother-in-law, the choreography and David and Hi-Jin Hodge’s vernal video—which opened with images of the dancers cavorting in a sun-filled forest—suggested sweet nostalgia without a drop of sentimentality. Performing superbly throughout, Kambara and Smith shyly danced the young lovers, Zivolich and Daniel Santos a lustier version of them.
A physically aggressive take on relationship troubles, Nelson’s hyper-volatile Labor was set to Mozart’s ominous but wistful Piano Concerto No. 20 in D minor. The sound of the women dropping the men like cement bags set off struggles in which partners tried to get away and also hang on. Zivolich pinned down Smith’s feet and twisted around his legs as he tried to hop away. Quilet Rarang—who danced like a rocket about to explode—crawled away with Brady on top like a blanket about to suffocate her. The earth seemed to shake as these frantic citizens leapt, fell, scooted, rolled, flailed, and were stepped on. Dragging an inert Santos, Farrotte wore a look of merciless triumph. If this was war, Labor worked towards an armistice in respites of side-to-side waltz steps, quiet walks, or a hug freely given. Finally, the dancers shaped themselves into a wedge, at peace for the moment but ready to go.
A more benign volatility reigned in Nelson’s paradise of cohabitation she named Grassland. Egged on by Brazilian composer Marcelo Zarvos’ driving score, the dancers resembled pulsating life forms that mutated in the air, on the ground, and underwater. Though Grassland circled back to its opening allusion of nature’s cyclical awakening, the tip-toeing walks, overhead stretched arms, and upward glances proposed a dynamic verticality, perhaps a longing toward the light that streamed from above.
Théâtre National de Chaillot and the Louvre Museum
March 10–26, 2010
Reviewed by Karyn Bauer
Throughout March, Carolyn Carlson’s ambitious presentation of four works in two prestigious Parisian venues proved that at 67 she remains a master of her art. This San Francisco native is as iconic to improvisation as the Eiffel Tower is to Paris. Possessed by an intimate sense of movement, her mystic and physically powerful universe continues to inspire.
Carlson opened the performances at the Théâtre National de Chaillot with Blue Lady (revisited), her emblematic 1983 solo performed for the first time by a man. When Finland’s Tero Saarinen donned Carlson’s shoes, hat, and dress, winnowing through the stages of a woman’s life, spectators wondered whether he was dancing Blue Lady or performing Carlson’s performance of the work. The confusion was intriguing.
Saarinen’s interpretation was at once unsettling in its similarities and completely new. Where Carlson’s ethereal extensions sparked with femininity, he appeared more grounded, more masculine, like her reflection in a warped mirror. Films of the original performance, projected periodically onto the backdrop, further enhanced this sharing of roles. At the show’s end, to the audience’s heartfelt applause, the two performed together in an unforgettably upbeat and dynamic improvised duo.
In a second program at the Chaillot, Carlson offered a hypnotizing short solo in the theater lobby, prior to the Parisian premiere of eau (water). In program notes, she wrote that she dances not for the eyes, but for the soul. As she weaved through a range of emotions, bringing herself and spectators into a trancelike state, that idea took on its full meaning.
Eau, for the Roubaix-based Ballet du Nord, which Carlson has directed since 2004, explored five aspects of water: primal, deep, violent, dirty, and pure. While the staging was dark and dramatic, sometimes lacking in clarity, the dancers were precise and intense. They evoked sensations from harmony and pleasure to suffocation and agony. When they shook and convulsed, they were bursting with poetry.
Petrified Movement brought dancers of the Junior Ballet of Paris and Ballet du Nord to the monumental sculpture rooms of the Louvre. A drumming score hummed as the public wandered through the galleries. As if incarnating their thoughts in slow motion, the dancers breathed life into echoing halls, creating an otherwordly conversation. With these performances, Carlson affirmed once again her ongoing love affair with Paris.
Wortham Center, Cullen Theater
April 1–3, 2010
Reviewed by Wendy Perron
Dance Salad offered a tantalizing array of mostly European companies that we rarely see in the United States.
The festival reached a poetic peak with Sidi Larbi Cherkaoui’s Loin, performed by Ballet du Grand Théâtre de Genève. In the last of three excerpts, one man dragged two others who were limp but alive. Two more joined, and finally the one in charge—a Mother Courage figure—was hoisted aloft. He ended standing tall with the others nested below like a family that has seen all sides of a war.
Another high point was Christian Spuck’s The Return of Ulysses (adapted for the festival), danced with bite by seven men and one woman from the Royal Ballet of Flanders. Eva Dewaele, as the reluctant Penelope, kept looking offstage right, waiting for Ulysses to come home, while the men tried to seduce her, mount her, tire her out. She emerged a hero—and so did Spuck for his witty and bold choreography.
Drew Jacoby and Rubinald Pronk’s luscious dancing lent Lightfoot/Leon’s Softly As I Leave You a richly melancholy tone. She began thrashing in a box, they found each other, he ended inside the box alone. Along the way you came to admire how they brushed past each other and somehow helped each other become themselves.
Admirable too was Mark Godden’s Miroirs for Mexico’s Compañía Nacional de Danza. In three excerpts, serene symmetrical moves eventually—haiku-like—resolved into surprising asymmetrical images.
The extravagantly tall Raphaël Coumes-Marquet, guesting from Dresden SemperOper Ballet, and lithe Esteban Berlanga of English National Ballet took turns watching each other dance in David Dawson’s Faun(e). Androgynous, sensual, stretching like taffy, they performed what was more like two overlapping solos than a duet.
Leticia Oliveira of Texas Ballet Theater shone in Ben Stevenson’s rhapsodic From the Corner, Pas de Deux, in which she and Carl Coomer circled one another with caresses and swirling lifts. Just the elegant way she turned her head revealed her to be a ballerina of the first order.
Netherlands Dance Theater contributed a stealthy, noirish excerpt of Kylián’s Toss of a Dice that held one’s attention completely. Lesley Telford and Medhi Walerski performed it with quiet intensity.
Companies from Spain, Hungary, France, and Norway presented less than stellar excerpts. Perhaps they would have fared better had they done whole pieces. Taken out of context, excerpts don’t always work. But whatever the shortcomings as seen by this viewer (who was a guest of Dance Salad), the level of dancing never dipped below excellent.
Pictured: Brenda Way's Waving Not Drowning (A Guide to Elegance). Photo by Steve diBartolomeo, courtesy ODC
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
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.
"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.
"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.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).
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."
José Greco popularized Spanish dance in 1950s and '60s America through his work onstage and on screen. Ensemble Español Spanish Dance Theater's American Spanish Dance & Music Festival is honoring the icon in recognition of what would have been his 100th birthday. As part of the tribute, Greco's three dancing children are reuniting to perform together for the first time since their father's death in 2000. Also on the program is the premiere of contemporary flamenco choreographer Carlos Rodriguez's Mar de Fuego (Sea of Fire). June 15–17, North Shore Center for the Performing Arts. ensembleespanol.org.
Dance Theatre of Harlem dancers Christopher McDaniel and Crystal Serrano were working on Nacho Duato's Coming Together in rehearsal when McDaniel's foot hit a slippery spot on the marley. As they attempted a swinging lift, both dancers went tumbling, injuring Serrano as they fell. She ended up being out for a week with a badly bruised knee.
"I immediately felt, This is my fault," says McDaniel. "I broke my friend."
What's on the minds of college students today?
I recently had the honor of adjudicating at the American College Dance Association's National College Dance Festival, along with choreographer Dana Tai Soon Burgess and former National Endowment for the Arts dance specialist Douglas C. Sonntag. We chose three winners—one for Outstanding Choreography and two for Outstanding Performance—from 30 pieces representing schools throughout the country. It was a great opportunity to see what college dance students are up to—from the issues they care about to the kinds movement they're interested in exploring.
Here were the biggest trends and takeaways:
It's summer festival season! If you're feeling overwhelmed by the dizzying array of offerings, never fear: We've combed through the usual suspects to highlight the shows we most want to catch.
Subscription box services have quickly gained a dedicated following among the fashion and fitness set. And while we'd never say no to a box with new jewelry or workout wear to try, we've been waiting for the subscription model to make its way to the dance world.
Enter barre + bag, a new service that sends a curated set of items to your door each season. Created by Faye Morrow Bell and her daughter Tyler, a student in the pre-professional ballet program at University of North Carolina School of the Arts, this just-launched service offers dance, lifestyle and wellness finds in four themed bags each year: Spring Performance, Summer Study, Back-to-Studio and Nutcracker. Since all the products are specifically made for dancers, everything barre + bag sends you is something you'll actually use, (Plus, it all comes in a bag instead of a box—because what dancer can ever have enough bags?).
barre + bag's Summer Collection
Today, American Ballet Theatre announced a new initiative to foster the development of choreography by company members and freelance dancemakers. Aptly titled ABT Incubator, the program, directed by principal David Hallberg, will give selected choreographers the opportunity to spend two weeks workshopping new dances.
"It has always been my vision to establish a process-oriented hub to explore the directions ballet can forge now and in the future," said Hallberg in a press release from the company. Interested? Here's how you can apply to participate.
Back in January, Chase Johnsey grabbed headlines when he resigned from Les Ballets Trockadero de Monte Carlo, where his performances had garnered critical acclaim for over a decade, alleging a culture of harassment and discrimination. (An independent investigation launched by the company did not substantiate any legal claims.) Johnsey, who identifies as genderqueer, later told us that he feared his dance career was at an end—where else, as a ballet dancer, would he be allowed to perform traditionally female roles?
But the story didn't end there. After a surprise offer from Tamara Rojo, artistic director of English National Ballet, Johnsey has found a temporary artistic home with the company, joining as a guest at the rank of first artist for its run of The Sleeping Beauty, which continues this week. After weeks of working and rehearsing with the company, last week Johnsey quietly marked a new milestone: He performed with ENB's corps de ballet as one of the ladies in the prince's court.