These days, it is practically impossible to attend modern dance without having video, multi-media, new media and mixed media shoved down your throat. The once artistically valuable exploration of 'dance and technology' has become meaningless and boring because of over-saturation. It is very frustrating that a rigorous undertaking has morphed into a faddy trend, though I do understand why video and multi-media still elicit such a presence in current choreography. The inclusion of these elements immediately brings another level of physicality to dance. They create a living, breathing set on which movement can unfold and with which it can interact. For me, the disconnect comes in the assumption that technology is the best way to accomplish this added dimension. In “The Illustrated Book of Invisible Stories”, Janice Garrett and Charles Moulton have incorporated a living framework into performance by looking to dance itself, not technology. They situated six company dancers against an eighteen-performer strong movement choir in this creative and humorous presentation. Both groups of dancers were vital to the concept, demonstrating that choreographers should look first to the human body to build additional dynamism into performance.
The first section of “The Illustrated Book of Invisible Stories” contained a dozen or so energetic, staccato vignettes, while a playful bass clarinet duet filled the room. Each short choreographic scene highlighted different combinations of the six company dancers. As the individual segments drew to a close, an exchange took place behind the movement choir (which was arranged in bleacher style upstage center). The dancers completing their variation ran behind the 'living set' as the next set of dancers emerged from the same place. In this instance, the movement choir became the curtain, the legs, and the wing space all in one; it was an ingenious way to signify the completion of each motif. In other portions of the work, the chorus took on an active role in the choreography itself. Garrett and Moulton created movement specifically for them, as a further accompaniment to the mainstage dancing, equally revealing as was the incredible music. And, in still other brilliant moments of fusion, both groups (the movement choir and the company dancers) merged together, not performing the same steps, but supporting each other, sometimes literally. For instance, during one section, Tanya Bello “surfed” on top of the movement choir in a sweet representation of vulnerability and trust. I may have misinterpreted the narrative of this portion, but what I took from it was that the floor had become hurtful or dangerous, and the eighteen women became responsible for keeping Bello safely aloft. They demonstrated no sense of force or control; rather, they were protective, nurturing and caring. My favorite point in the hour-long piece was when the chorus channeled weather. They were not miming wind nor pretending to be wind, they were wind. They leaned forward as a group to emphasize the strength of this natural force and with their powerful sound compelled Kaitlyn Ebert around the stage. She boureed vigorously, yet, the movement choir was clearly the impetus behind all the directional changes that she made. In this same segment, the chorus also used their fingertips against the bleacher steps to create the sound of rain. It was so simple, but created a physical reaction for me. I actually felt cold during this minor, but effective hand percussion.
Though I was captivated by the movement choir and what they brought to “The Illustrated Book of Invisible Stories”, the company dancers were equally impressive. Many aspects of their performance deserves mention: the lightning speed at which they moved and changed direction, the mesmerizing flow they exhibited when engaged in slower sequences (especially the male soloist in the second variation), and the amazingly risky lifts of the last pas de deux. Those lifts were literally out of this world; the female dancer had actual air time! Despite all of these observations, the most entrancing memory I have of the six soloists was their hands. Hands are often an afterthought in dance; overlooked by choreographers and trivially infused into movement. Ballet hands are a dime a dozen-they all look exactly the same. Much modern dance choreography can have a similarly contrived treatment of the hands, like Graham's famous, or perhaps infamous, (and I might go so far as to say melodramatically ridiculous) cupped hands. Perhaps that is why these dancers' hands stood out so much in this piece. Garrett and Moulton were able to incorporate the hands as a very real part of the choreography without making them seem placed. These hands were both an extension of the arm and an involved part of the movement. They were real and honest; not overly arranged decoration.
I was only in California for a week this month, and decided that I wanted to see something at Yerba Buena while I was in town. I am so fortunate that it was this performance. I think I had the rare opportunity to see in its early stages what some critic in forty years will call a modern dance classic. Janice Garrett and Charles Moulton's “The Illustrated Book of Invisible Stories” is an innovative milestone for modern dance. I believe that there should be and will be further encores in the months and years to come.
Monday, January 25, 2010
Monday, December 21, 2009
Beyond The Sugar Plum Fairy-Three Nutcracker Performances
New York City Ballet-George Balanchine's The Nutcracker
Lincoln Center, New York City, NY
December 9, 2009
The Washington Ballet-Septime Webre's The Nutcracker
Warner Theatre, Washington, D.C.
December 11, 2009
Grand Rapids Ballet Company-Gordon Pierce Schmidt's The Nutcracker
DeVos Performance Hall, Grand Rapids, MI
December 20, 2009
The holiday season is full of combinations: Santa and reindeer, tinsel and ornaments, and an excess of food and wine. Children and The Nutcracker are yet another inseparable mixture. Every December, dressed in Christmas finery, they experience the festive and colorful story of Clara and her beloved Nutcracker. For some, the trip to this particular ballet is part of their annual winter traditions, akin to making snowmen and shaking gifts under a well-lit, well-decorated tree. But, there is one group of children for whom The Nutcracker is something else entirely. For them, it embodies hopes, dreams and expectations. These are the young people cast every year in the scores of Nutcracker productions. They see the yuletide celebration from a different perspective: from the rehearsal hall, from the wings and onstage. It is one of the only opportunities for these 'ballet hopefuls' to share the stage with professional company dancers. And, for many of them, imagining their future selves performing a most-coveted role is big part of the experience.
The most desired role is not necessarily the central one. Yes, some little girls picture themselves as Clara or the Sugar Plum Fairy but others may be drawn to one of the distinctive and compelling characters in their respective production. A less idolized part may in fact have better choreography, higher technical demands and garner more admiration. I would guess that the children in the three Nutcrackers I saw this season (New York City Ballet, Washington Ballet and Grand Rapids Ballet), are likely as drawn to the outstanding performances below as they are to the main characters.
The greatest inspirations in The New York City Ballet's Nutcracker were the three featured performers in the Waltz of the Flowers. The Dewdrop (Ana Sophia Scheller), with the help of the two chief flowers (Kathryn Morgan and Brittany Pollack), led a dozen corps members through this lengthy and extremely well-known variation. It is hard to make the Waltz of the Flowers unique and fresh. Most versions are mundane copies of each other; inventiveness not being their strong suit. Enter the NYCB's Waltz. The awe in it comes from Balanchine's technique and choreography, exemplified by Scheller, Morgan and Pollack. They are masters of Balanchinian movement and are able to transmit it flawlessly through performance. Two specific steps shone in these solos: the 45 degree arabesques and the demi-pointe turns. 135 degree legs and arabesque splits have become so common nowadays that they border on boring. To the detriment of artistry, the current ballet climate has come to celebrate and encourage these circus tricks. Thankfully in this Nutcracker, one can still see the simple beauty, clarity and elegance of an exquisite low arabesque. It is so unpretentious, so refreshing and so memorable. In addition, Balanchine infused the dances for the Dewdrop and two lead flowers with ample chaines, piques and en dedans turns on demi-pointe. Balanchine's blending of demi-pointe and full pointe work illustrates a broader set of choreographic options, utilizing the foot's full range of motion. Aside from that, these demi-pointe turns were faster, cleaner and more impressive than many turning sequences on full pointe.
The Washington Ballet's Nutcracker celebrates a regional focus with a number of different characters. In this unique version of the traditional story, there were two standout performances. First was the Frontiersman, danced brilliantly by Brooklyn Mack. His solo, set to the Trepak music, was brimming with the most inventive, technically challenging jumps that I have ever seen. It was a small part of the overall evening, yet, it was the most virtuosic and had the biggest wow factor. Second was the corps de ballet, which was comprised mostly of the Studio Company, plus a couple of extra dancers, who I assume were senior students at the Washington Ballet School. With this mid-size company, these 'corps dancers' had to perform much more than a typical corps de ballet; they were onstage constantly. And, when they were onstage, they were not set dressing, Septime Webre has created much choreography for them and it was challenging. Most of them were party guests, snowflakes, butterflies, cardinals and flowers. I am amazed that the Studio Company were still standing at the end of the ballet; they had some impressive endurance skills to be sure! Without a doubt, these dancers danced more than anyone, and their contribution was indispensable.
The breathtaking snow scene of the Grand Rapids Ballet's Nutcracker was the highlight of this enchanting Mid-Western rendition. The Snow Queen, Laura Schultz, and the Wind King, Stephen Sanford, were born to dance together. This section was packed with overhead lifts, well-prepared by Schultz and well-executed by Sanford. Not once did any of their partnering look awkward, uneasy or precarious. They were truly a royal pair. Schultz also exhibited the most accurate textbook attitude derriere as the Snow Queen. A correct attitude requires that the thigh and knee be higher than the foot-when did the ballet community forget this? The snowflakes were danced primarily by the senior professional trainees from the School of the Grand Rapids Ballet Company and they were on par with any set of corps dancers. In addition, the Grand Rapids' Nutcracker had a live choir from Forest Hills Northern High School providing the beautiful vocal score of the snow scene. The entire vignette was picturesque perfection.
It is hard to compare with the inherent star power of roles like Clara, the Sugar Plum Fairy and the Cavalier. But the abovementioned high points reveal that there is much more to The Nutcracker than those three. I think any of the children onstage at New York City Ballet, Washington Ballet and Grand Rapids Ballet would be thrilled to one day portray any of these characters in a professional Nutcracker production. They will then be providing the next generation with their inspiration.
Lincoln Center, New York City, NY
December 9, 2009
The Washington Ballet-Septime Webre's The Nutcracker
Warner Theatre, Washington, D.C.
December 11, 2009
Grand Rapids Ballet Company-Gordon Pierce Schmidt's The Nutcracker
DeVos Performance Hall, Grand Rapids, MI
December 20, 2009
The holiday season is full of combinations: Santa and reindeer, tinsel and ornaments, and an excess of food and wine. Children and The Nutcracker are yet another inseparable mixture. Every December, dressed in Christmas finery, they experience the festive and colorful story of Clara and her beloved Nutcracker. For some, the trip to this particular ballet is part of their annual winter traditions, akin to making snowmen and shaking gifts under a well-lit, well-decorated tree. But, there is one group of children for whom The Nutcracker is something else entirely. For them, it embodies hopes, dreams and expectations. These are the young people cast every year in the scores of Nutcracker productions. They see the yuletide celebration from a different perspective: from the rehearsal hall, from the wings and onstage. It is one of the only opportunities for these 'ballet hopefuls' to share the stage with professional company dancers. And, for many of them, imagining their future selves performing a most-coveted role is big part of the experience.
The most desired role is not necessarily the central one. Yes, some little girls picture themselves as Clara or the Sugar Plum Fairy but others may be drawn to one of the distinctive and compelling characters in their respective production. A less idolized part may in fact have better choreography, higher technical demands and garner more admiration. I would guess that the children in the three Nutcrackers I saw this season (New York City Ballet, Washington Ballet and Grand Rapids Ballet), are likely as drawn to the outstanding performances below as they are to the main characters.
The greatest inspirations in The New York City Ballet's Nutcracker were the three featured performers in the Waltz of the Flowers. The Dewdrop (Ana Sophia Scheller), with the help of the two chief flowers (Kathryn Morgan and Brittany Pollack), led a dozen corps members through this lengthy and extremely well-known variation. It is hard to make the Waltz of the Flowers unique and fresh. Most versions are mundane copies of each other; inventiveness not being their strong suit. Enter the NYCB's Waltz. The awe in it comes from Balanchine's technique and choreography, exemplified by Scheller, Morgan and Pollack. They are masters of Balanchinian movement and are able to transmit it flawlessly through performance. Two specific steps shone in these solos: the 45 degree arabesques and the demi-pointe turns. 135 degree legs and arabesque splits have become so common nowadays that they border on boring. To the detriment of artistry, the current ballet climate has come to celebrate and encourage these circus tricks. Thankfully in this Nutcracker, one can still see the simple beauty, clarity and elegance of an exquisite low arabesque. It is so unpretentious, so refreshing and so memorable. In addition, Balanchine infused the dances for the Dewdrop and two lead flowers with ample chaines, piques and en dedans turns on demi-pointe. Balanchine's blending of demi-pointe and full pointe work illustrates a broader set of choreographic options, utilizing the foot's full range of motion. Aside from that, these demi-pointe turns were faster, cleaner and more impressive than many turning sequences on full pointe.
The Washington Ballet's Nutcracker celebrates a regional focus with a number of different characters. In this unique version of the traditional story, there were two standout performances. First was the Frontiersman, danced brilliantly by Brooklyn Mack. His solo, set to the Trepak music, was brimming with the most inventive, technically challenging jumps that I have ever seen. It was a small part of the overall evening, yet, it was the most virtuosic and had the biggest wow factor. Second was the corps de ballet, which was comprised mostly of the Studio Company, plus a couple of extra dancers, who I assume were senior students at the Washington Ballet School. With this mid-size company, these 'corps dancers' had to perform much more than a typical corps de ballet; they were onstage constantly. And, when they were onstage, they were not set dressing, Septime Webre has created much choreography for them and it was challenging. Most of them were party guests, snowflakes, butterflies, cardinals and flowers. I am amazed that the Studio Company were still standing at the end of the ballet; they had some impressive endurance skills to be sure! Without a doubt, these dancers danced more than anyone, and their contribution was indispensable.
The breathtaking snow scene of the Grand Rapids Ballet's Nutcracker was the highlight of this enchanting Mid-Western rendition. The Snow Queen, Laura Schultz, and the Wind King, Stephen Sanford, were born to dance together. This section was packed with overhead lifts, well-prepared by Schultz and well-executed by Sanford. Not once did any of their partnering look awkward, uneasy or precarious. They were truly a royal pair. Schultz also exhibited the most accurate textbook attitude derriere as the Snow Queen. A correct attitude requires that the thigh and knee be higher than the foot-when did the ballet community forget this? The snowflakes were danced primarily by the senior professional trainees from the School of the Grand Rapids Ballet Company and they were on par with any set of corps dancers. In addition, the Grand Rapids' Nutcracker had a live choir from Forest Hills Northern High School providing the beautiful vocal score of the snow scene. The entire vignette was picturesque perfection.
It is hard to compare with the inherent star power of roles like Clara, the Sugar Plum Fairy and the Cavalier. But the abovementioned high points reveal that there is much more to The Nutcracker than those three. I think any of the children onstage at New York City Ballet, Washington Ballet and Grand Rapids Ballet would be thrilled to one day portray any of these characters in a professional Nutcracker production. They will then be providing the next generation with their inspiration.
Tuesday, December 15, 2009
The 2009 Eureka Dance Festival-The Jack Guidone Theater, Joy of Motion Dance Center
Performance opportunities are imperative for emerging choreographers. Artists must have the chance to develop their ideas, show their work, and receive feedback, though finding a venue in which to do so is not easy. DC area artists are fortunate to have an available presentational forum in Kate Jordan and Orit Sherman's new venture, The Eureka Dance Festival. This ambitious project will help fill a void, fostering artistic growth and choreographic mentoring.
The Eureka Dance Festival's variety is a testament to the breadth of genre in the dance community. Orit Sherman's Sphere retained a concrete and consistent image throughout. She related this conceptual framework primarily to the practice of change, although the notion of curvature also moved into the execution of movement. Two particular motions highlighted the circular path of the limbs: the penchee splits and the port de bras to second position. In both instances, the route of the legs and arms emphasized that these pathways are not straight lines; they have a spherical basis. Dissection of Process, by Daniel Zook, was one of the shortest pieces on the program, but perhaps my favorite. The choreography explored the role of accumulation and improvisation in forming movement phrases. In this piece, the audience could really see the three dancers building and mixing steps and sequences which ultimately, became performance material. Delphina Parenti's mixed media offering, Parameters, dealt with enclosure and porousness. Most of the dance took place behind a divider covered with transparent material, while a video was projected on the back scrim. Both mediums illustrated how boundaries obscure and encase, yet at the same time, reveal. The final piece of the evening, Kate Jordan's The Bicycle Project, was a meditation on mechanics. In the opening images, the dancers collectively created shapes in space. This process was serene, deliberate and thoughtful, really celebrating that bodies can be active participants in architecture. Mid-way through the piece, all the performers faced upstage in 4th position. They proceeded to pop onto bent demi-pointe while moving through a segment of angular arm movements. In this section, each of them was a real, tangible example of apparatus and instrumentation. The end of The Bicycle Project was a humorous musing on cycling culture. I was not sure whether the final scene was a spinning class or a cycling club, but the determination, competitiveness, and endurance relayed by the dancers was hilarious and realistic.
Health/Care and No Heartbeat were the jazz/contemporary offerings on the bill. The dancers in each piece were highly skilled and displayed excellent stage presence. Having said that, the concept behind both dances requires further development. The program notes for Glade Dance Collective's Health/Care mentioned a focus on hurt, pain and tension, while Megan Adelsberger's No Heartbeat was representing five widows. Health/Care's prologue was encouraging with its shaking and screaming gestural motifs. However, the rest of the dance moved away from that artistic rigor and became more of a performance team piece. The dancers in No Heartbeat were technically striking from beginning to end. Unfortunately, flexibility and unison only goes so far these days. Their group was supposed to be dealing with loss, yet, they were all about pasted on smiles and not at all about narrative depth. These jazz works were trying to combine serious subject matter with choreography. In order to do that, the two groups need to leave behind their dance team personas and their tendencies toward presentational entertainment. Health/Care and No Heartbeat can be valuable choreographic contributions; they just need the opportunity to mature further.
The program drew a huge crowd on Saturday night but unfortunately, the Joy of Motion Dance Center seemed unprepared for it. At 8:00, the appointed start time, the audience was lined up out the door and the house was not open. The performance itself ended up being a half hour late in starting, with no explanation from the crew as to why this had happened. Sight lines for folks seated on the floor level were obstructed to the point that any movement happening on the ground was completely blocked. Normally, I would be hesitant to mention these venue issues because I believe that they are separate from what was happening on stage during the festival. However, when embarking upon a new and hopefully annual event, cultivating an audience base is important. The Eureka Dance Festival was well done and worth seeing. It would be a shame if organizational problems kept people away in the future.
The Eureka Dance Festival's variety is a testament to the breadth of genre in the dance community. Orit Sherman's Sphere retained a concrete and consistent image throughout. She related this conceptual framework primarily to the practice of change, although the notion of curvature also moved into the execution of movement. Two particular motions highlighted the circular path of the limbs: the penchee splits and the port de bras to second position. In both instances, the route of the legs and arms emphasized that these pathways are not straight lines; they have a spherical basis. Dissection of Process, by Daniel Zook, was one of the shortest pieces on the program, but perhaps my favorite. The choreography explored the role of accumulation and improvisation in forming movement phrases. In this piece, the audience could really see the three dancers building and mixing steps and sequences which ultimately, became performance material. Delphina Parenti's mixed media offering, Parameters, dealt with enclosure and porousness. Most of the dance took place behind a divider covered with transparent material, while a video was projected on the back scrim. Both mediums illustrated how boundaries obscure and encase, yet at the same time, reveal. The final piece of the evening, Kate Jordan's The Bicycle Project, was a meditation on mechanics. In the opening images, the dancers collectively created shapes in space. This process was serene, deliberate and thoughtful, really celebrating that bodies can be active participants in architecture. Mid-way through the piece, all the performers faced upstage in 4th position. They proceeded to pop onto bent demi-pointe while moving through a segment of angular arm movements. In this section, each of them was a real, tangible example of apparatus and instrumentation. The end of The Bicycle Project was a humorous musing on cycling culture. I was not sure whether the final scene was a spinning class or a cycling club, but the determination, competitiveness, and endurance relayed by the dancers was hilarious and realistic.
Health/Care and No Heartbeat were the jazz/contemporary offerings on the bill. The dancers in each piece were highly skilled and displayed excellent stage presence. Having said that, the concept behind both dances requires further development. The program notes for Glade Dance Collective's Health/Care mentioned a focus on hurt, pain and tension, while Megan Adelsberger's No Heartbeat was representing five widows. Health/Care's prologue was encouraging with its shaking and screaming gestural motifs. However, the rest of the dance moved away from that artistic rigor and became more of a performance team piece. The dancers in No Heartbeat were technically striking from beginning to end. Unfortunately, flexibility and unison only goes so far these days. Their group was supposed to be dealing with loss, yet, they were all about pasted on smiles and not at all about narrative depth. These jazz works were trying to combine serious subject matter with choreography. In order to do that, the two groups need to leave behind their dance team personas and their tendencies toward presentational entertainment. Health/Care and No Heartbeat can be valuable choreographic contributions; they just need the opportunity to mature further.
The program drew a huge crowd on Saturday night but unfortunately, the Joy of Motion Dance Center seemed unprepared for it. At 8:00, the appointed start time, the audience was lined up out the door and the house was not open. The performance itself ended up being a half hour late in starting, with no explanation from the crew as to why this had happened. Sight lines for folks seated on the floor level were obstructed to the point that any movement happening on the ground was completely blocked. Normally, I would be hesitant to mention these venue issues because I believe that they are separate from what was happening on stage during the festival. However, when embarking upon a new and hopefully annual event, cultivating an audience base is important. The Eureka Dance Festival was well done and worth seeing. It would be a shame if organizational problems kept people away in the future.
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