New Heights, Dallas Black Dance Theatre

Jamal Story, left, with Cher in the middle. Photo: JamalStory.com.

Jamal Story, left, with Cher in the middle. Photo: JamalStory.com.

Dallas Black Dance Theatre takes to the sky with its first ever aerial work, What to Say? Sketches of Echo and Narcissus, at this year’s Spring Celebration Series, part of the Soluna Festival.

Dallas — Once in a while you see a dance that leaves you so raw and vulnerable you’re still feeling the effects days later. Jamal Story’s aerial work What to Say? Sketches on Echo and Narcissus is one of those pieces. Unlike other aerial and silks works that just go for the WOW factor, Story uses the fabric to accentuate the dancers body lines and enhance the plot which is based off the Greek myth of Echo and Narcissus.

For those unfamiliar with the story, Echo has her voice taken away for a crime she didn’t commit by Zeus’ wife Hera. One day she spots Narcissus in the woods and falls madly in love with him, but when she tries to talk to him she can only repeat what he says. Narcissus rebuffs Echo and winds up falling in love with his own reflection and basically starves himself to death. “It’s really tragic and wrong, but then I thought you know, nobody ever deals with the Echo part of the story,” Story says. “Then I thought wouldn’t be interesting if we told the story from Echo’s perspective. How would that work and what kind of nuances would come out of her trying to manipulate his language to say what she wants to say.”

Story started his dance training with Lula Washington and the Lula Washington Dance Theatre before earning degrees in dance performance and TV/radio communications at Southern Methodist University. During his time at SMU he would also guest perform with Dallas Black Dance Theatre (DBDT) before continuing on to perform with Donald Byrd/theGroup, Madonna’s 2001 Drowned World Tour, Complexions Contemporary Dance and with Cher as an aerialist and dancer on Cher’s Living Proof: The Farewell Tour. Most recently Story was a dancer on Cher’s Dressed to Kill Tour and has also performed on Broadway in the original casts ofThe Color Purple and Motown: the Musical. He has also written two novels, 12:34 A Slice Novel and Toss In The Ether, a fictitious work for which he used DBDT as a template.

When it came to the music Story says he has been waiting for the right time to use Dinah Washington’s “This Bitter Earth” ever since he heard it while watching the movie Shutter Island. “What was amazing and heartbreaking for me was when you get to the end the movie and you understand what is going on that’s when this track gets played. And it was this kind of cathartic and real experience that made me think there had to be a way to set this up in choreography to have the same kind of impact. It was important to me that this piece of music be used in that way

I had the opportunity to see DBDT company members Claude Alexander III and Alyssa Harrington rehearseWhat to Say? late Monday afternoon at the company’s studio in downtown Dallas. (Alexander and Harrington will be performing on Friday and Saturday with a different cast on Sunday.) Watching the piece I definitely felt that emotional release Story described earlier. It was similar to how a person might feel after a good crying jag. The music and movement come at you in waves so one minute it’s building and the next it’s climaxing. The cycle keeps repeating, but each time it grows in intensity, which is demonstrated through the violins. In terms of the movement, once Harrington makes eye contact with Alexander (who is cocooned in the fabric) her body language becomes more agitated as she transitions from forward motion reaches and leg extensions into fragmented gestures and inverted leg positions. Using the fabric for support, Alexander rotates himself upside down just in time to catch Harrington’s upper body in an aerial spin as the music peaks. Harrington then climbs up Alexander’s body so that their positions are reversed as the fabric continues to rotate. Watching this exchange you would have no idea that this was the couple’s first time working with a piece of fabric in this fashion

Story says the most challenging part of the process was helping the dancers find their balance in the air. “It required a lot of focus from them and a lot openness from myself and my partner in terms of how to impart the information. And because the dancers didn’t have any aerial training they weren’t aware of what their bodies felt like in the air.” He adds, “Dancers are used to having the ground as their frame of reference so, in this cases they were trying to find lines that they had mastered over the years in a context where there was no physical grounding reference point.” Even though Story had spent three to four months working on the concept for the piece the actual material was hastily put together for an upcoming gala performance, so this time with DBDT really helped Story to rediscover the work and understand it better.

Photo: JamalStory.com

Photo: JamalStory.com

Alexander adds that while his strength is still the same when he is suspended upside down his focus has to remain on Harrington’s core to prevent himself from getting dizzy. Audiences will also see a different side to these dancers as they reach for new emotional depths. Harrington explains, “For me, these feelings come out of nowhere. Whenever I look at him it’s with these feelings of lust and obsession. The dance has a real push and pull quality to it. “

Dallas Black Dance Theatre will present What to Say? Sketches of Echo and Narcissus at its Annual Spring Celebration Series, May 15-17, at the Wyly Theatre in conjunction with the inaugural Soluna: International Music & Arts Festival. The program also includes the world premiere of Daniel Catanach’s Surface, a return of Bridget L. Moore’s Southern Recollections: For Romare Bearden, a duet to the music of Duke Ellington by two principal dancers from the Alvin Ailey American Dance Theater and a solo performance from Jamal Story.

This feature was originally posted on TheaterJones.com.

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Review: Midsummer Night’s Dream, Ballet Frontier of Texas

Dan Westfield and Tessa Moore in BFT's Midsummer Night's Dream. Photo: Courtesy of BFT

Dan Westfield and Tessa Moore in BFT’s Midsummer Night’s Dream. Photo: Courtesy of BFT

Sweet Dreams

Ballet Frontier of Texas displays artistic growth and a knack for storytelling in the company’s rendition of A Midsummer Night’s Dream

Fort Worth — From La Syphide and Pinocchio toFirebird, every year is better than the last in terms of technique, storyline, and costuming when talking about Ballet Frontier of Texas’ (BFT) annual spring concert. The company continued this tradition Saturday evening with a well-conceived and technically enchanting retelling of William Shakespeare’s A Midsummer Night’s Dream at the W.E. Scott Theatre at the Fort Worth Community Arts Center. The lush forest scenery, detailed costuming and unearthly lighting all had a hand in making the show a success, but it was Artistic Director Chung-Lin Tseng’s astute choreography, especially in the pas de deux, where BFT’s true strength lies.

For those unfamiliar with the plot, A Midsummer Night’s Dream is a tale of changing love triangles between King Oberon and Queen Titania; Lysander and Hermia; and Demetrius and Helena which are only made more confusing by the mischievous elf Puck’s mishandling of a love potion. Chaos ensues when both Lysander and Demetrius find themselves in love with Helena and Hermia is left heartbroken. Meanwhile a group of Mechanicals are rehearsing a play for Theseus and Hippolyta’s wedding when they encounter Puck who decides to turn Bottom’s (one of the villagers) head into a donkey. His voice awakens Queen Titania who is under the love potion’s spell and winds up falling in love with Bottom. In the end we discover it was King Oberon who asked Puck to concoct the love potion so he could take the Indian Boy from Titania. After taking the Indian Boy, Oberon has Puck remove the love spell and everyone is reunited with their true loves in time for Theseus and Hippolyta’s wedding.

With so many plot twists Tseng did the right thing by easing the audience into the story starting with spotlighted freeze frames of each couple and then presenting the couple’s one by one in some exquisite pas de deuxs and full body contact fighting sequences between the male leads. Lysander (Guest artist David Escoto) and Hermia (Mickayla Carr) professed their love for one another in the first scene with a number of tender traveling jete lifts and sustained arabesque holds and body dips as well as classic hand to heart gesturing. Carr’s natural grace and strong technique showed through her breathy arm movements during the petite allegro sections and her meticulous leg line as she passed through passé and extended into ponche arabesque with Escoto’s assistance. Demetrius (BFT Principal Dancer Dan Westfield) commanded attention with his gravity defying traveling tour jetes and double tour jumps to the knee as Helena (former BFT Dancer Tessa Moore) followed him performing a series of wistful bourrees with her head bowed. You see, Helena is head over heels for Demetrious, but unfortunately Demetrious is in love with Hermia who is clearly in love with Lysander. Demetrious’ relentless pursuit leads to some exciting fight sequences between Escoto and Westfield as well as some inventive partnering and hand offs between them and Carr.

David Escoto and Mickayla Carr. Photo: Courtesy of BFT

David Escoto and Mickayla Carr. Photo: Courtesy of BFT

The group dances in the forest scene with the fairies and butterflies were well rehearsed and musically inclined. The butterflies captured the nuances in Felix Mendelsohn’s score in their fluttering pointe work and swooping arm movement which were enhanced by the strips of fabric attached from their backs to their wrists. Maria Howard was naughty yet lovable in her role as Puck. She had the hardest job of being constantly animated in both her acting and dancing. Her over-the-top facial expressions never faltered, not even during a challenging fouette variation where she alternated between front and back attitude. Once the love potion did its job Westfield, Escoto and Moore executed a lovely pas de troisconsisting of over-the-head lifts, traveling jumps and warm embraces. Moore and Carr’s interactions with one another were not as affectionate, but they retained a graceful air even as they clawed at each other, drawing giggles from the audience.

On the other side of the forest Guest Artist Grant Dettling (King Oberon) and Anastacia Snyder (Queen Titania) performed a simply beautiful pas de deux with elongated extensions and shoulder lifts that finished with Snyder cradled in Dettling’s arms. The catch was Snyder was asleep for the duration which came through her downcast eyes and relaxed upper body. A difficult feat to accomplish in this regimented art form, but Snyder pulled it off with ease. Snyder also got to show off her whimsical side in her dance with Bottom (Jake Yarbrough) and later her natural exuberance in a series of fast piques and fouettes turns.

The group dances in the second half lacked some of the finesse of the numbers in the first act, but the delicate pas de deuxs performed by Westfield and Moore; Escoto and Carr; and Kenta Taniguchi (Theseus) and Hyppolita (Carli Petri) more than made up for it. The three couples seamlessly transitioned from the more athletic jumping sequences and press up lifts into the softer, sustained lunges and counter balance poses. Tseng is a master when it comes to sustained couples movement and effortless lifts with opposing momentum such as the ladies running tour jumps into a backward arabesque lunge.

This review was originally posted on TheaterJones.com.

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Soluna Review: Avant Chamber Ballet

Avant Chamber Ballet performs for the Soluna Festival. Photo: Amitava Sarkar

Avant Chamber Ballet performs for the Soluna Festival. Photo: Amitava Sarkar

Avant Chamber Ballet makes a rousing tribute to American Ballet at the Soluna Festival with guests from the Dallas Symphony Orchestra.

Dallas — There’s nothing like hearing live music at a classical ballet performance. It adds some spontaneity to an otherwise technically fixed art form as well as a layer of anticipation for both performers and audience members. It was this anticipation that had audiences on the edge of their seats as Avant Chamber Ballet (ACB) broadened their artistic range in a near flawless performance Tuesday evening at Dallas City Performance Hall in conjunction with the Soluna: International Music & Arts Festival. Staying within the margins of the festival’s theme “Destination America” Puder put together an exciting program that included some of her favorite American ballet choreographers, including George Balanchine, Christopher Wheeldon and Paul Mejia, and also showcased the company’s ever growing versatility and musical awareness.

Having been brought up on the Balanchine style it came as no surprise that ACB’s restaging of Balanchine’sValse Fantaisie paralleled the technical fortitude of the original. Glinka’s driving composition, arranged by ACB’s composer in residence Chase Dobson, guided the five females and one male through this whirlwind that can only be called pure dancing. As was Balanchine’s custom, leg beats and rises on and off pointe were accentuated with subtle head tilts and arm changes. Natalie Anton, Madelaine Boyce, Kristen Conrad and Kaitlyn McDermitt performed the springy corp steps without hesitation and beautifully captured the musical nuances with their elongated arabesques and breathy arm transitions. Christy Martin was a spitfire in the lead role with fellow dancer Peter Kurta. Martin showcased exquisite control as she stepped into a lengthyarabesque hold after completing a vigorous entrechatvariation.

Kurta ate up the stage in his traveling jump sequences and maneuvered Martin through a series of assistedpirouettes and rotating body positions without qualm. Musicians Miika Gregg (violin), Lydia Umlauf (viola), Jennifer Humphreys (cello), Kara Kirkendoll Welch (flute), David Cooper (horn) and Saule Garcia (piano) partnered beautifully with the performers on stage with changing tempos, volumes and styles generating the same energies in the dancers.

Paul Mejia’s Serenade in A challenged ACB’s Natalie Anton, Emily Dixon, Yulia Ilina and Rachel Meador with its musical intricacies and scrupulous technique. Choreographed in four parts, each section uses a different part of the body to highlight the nuances in this illustrious Stravinsky composition. The long-sleeved white leotards and matching ballet belts enhanced the dancers’ lines and did not detract from the detailed movements seen in the work. Right away the eye is drawn to the dancers’ upper bodies as they contract and release on different counts.

These constantly changing counts made the simple plies with wrist flicks and back arches appear fresh and exiting. In the third section the fast tempo was accented by the dancers’ hips as they quickly tip-toed on the balls of their feet around one another. Pianist Garcia slowed the tempo down in the final section as the dancers focused on raising and lowering their arms to different counts and rhythms.

Just as the title states, Puder’s new work Endless Arc was a continuous array of wide arcing movements, contracted torsos and explosive leg extensions. By breaking the piece into five parts the audience could fully appreciate Puder’s interweaving formation changes, complex petite allegro sections and push and pulling partnering skills. In the first section, Sarah Grace Austin set the tone when she performed a series of slow side bends and tendue steps with an inverted hip swivel. As Bela Bartók’s String Quartet No. 4 picked up tempo Austin and the other five dancers on stage exploded into a number of running jetes which led them off stage.

In the second and fourth sections, Madelaine Boyce, Kirsten Conrad and Christy Martin made easy work of the traveling chaine turns and double pirouettes that came in between their running patterns, which had them circling close to one another before shifting directions. The simple rotating bourrees and slow walks which spread the group across the stage in the third adagio section was one of the most visually arresting moments of the whole piece. The audience was also pleased to see Tagir Galimov handling the classic partnering skills (i.e. rotatingarabesques, pirouettes) with more assertiveness and continuity.

The piece came to a satisfying conclusion as the entire company executed a series of high powered traveling jumps and alternating battements before ending in diagonal spanning the stage. As they pivoted to the front with one arm curved up and the other down the stage went dark. Throughout the piece Charlton Gavitt’s bold color choices and abrupt lighting cues meshed with the sharp changes in the music and helped round out the work.

These more traditional works were separated by two contemporary duets choreographed by Christopher Wheeldon. In The American pas de deux Michele Gifford clung to Shea Johnson as he manipulated different parts of her body. Flexed feet, broken arms and a contracted torso made up most of Gifford’s movements as Johnson swept her across the floor in a number of over the head lifts. The counterbalance holds and sustained lifts, which made up a bulk of the work, tested Johnson’s control and consistency with positive results. WhereasThe American was light and buoyant, Wheeldon’s There Where She Loved was grounded and tense with Gifford desperately reaching and arching away from Johnson as he dragged her across the floor on the tops on her feet. Soprano Corrie Donovan’s soul stripping rendition of Kurt Weill’s Je ne t’aime pas as well as her physical presence on the stage gave the couple courage to fully let themselves go which in turn made their performance more dynamic and believable.

This review was originally posted on TheaterJones.com.

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Sweet Pairing, Avant Chamber Ballet SOLUNA Preview

Avant Chamber Ballet in Katie Puder's Endless Arc. Photo: Sharen Bradford/The Dancing Image

Avant Chamber Ballet in Katie Puder’s Endless Arc. Photo: Sharen Bradford/The Dancing Image

Avant Chamber Ballet plans to wow audiences with its artistic range and technical fortitude at the inaugural Soluna: International Music & Arts Festival in Dallas.

Dallas — It comes as no surprise that Avant Chamber Ballet (ACB) is the only local ballet company invited to participate in Dallas’ inaugural SOLUNA: International Music & Arts Festival. After all, the company’s goal of reconnecting dance with live music fits right into the festival’s purpose and it also helps that ACB has strong ties with the Dallas Symphony Orchestra, the organization in charge of this three-week performing and visual arts extravaganza. ACB Artistic Director Katie Puder adds that DSO is always her first choice when looking for collaborators, and having worked with these musicians already has made this process a little easier. It also can’t hurt to have DSO Principal French Hornist David Cooper as your company’s music director. With that said, ACB’s fresh perspective on the fixed art form of ballet has more than earned them a spot on the festival’s roster.

Staying within the margins of the festival’s theme,Destination (America), Puder has put together an exciting program showcasing choreographers and composers who came to American for inspiration and freedom. The lineup includes George Balanchine’s Valse Fantaisie, Christopher Wheeldon’s pas de deux fromThe American and There Where She Loved, Paul Mejia’s Serenade in A and the premiere of Puder’sEndless Arc. “Soluna’s theme of Destination America was a great reason for applying for our first Balanchine ballet and presenting a Paul Mejia ballet,” Puder says. “We are also honored to be the only ballet company partnering with the festival and Dallas City Performance Hall is the ideal home for ACB.”

Watching ACB rehearse for Soluna at Park Cities Dance two weeks ago I saw the dancers being tested both physically and mentally, which in turn added new intensity to their movement choices. This was most apparent in Mejia’s musically brutal work, Serenade in A, which features company members Natalie Anton, Yulia Ilina, Rachel Meador and Emily Dixon. While everyone in the company learned the piece Puder selected these four based on certain factors. “It was a choice of who looked best in it, would look best in the white leotards and had the height too. The four girls shouldn’t match (in terms of appearance), but they need to be able to blend together.”

Right away the two pairs start on different counts as they glide side to side in a series of deep squats with a contracted torso as their arms swoop up and down, resembling bird’s wings. As the dancers move into a box formation their timing matches as they perform a series alternating hand gestures and shouldering before smoothly changing timing again. Another signature section is when the four dancers come together and link hands just as the dancers do in the second half of Swan Lake. As the group deliberately walks forward together they raise their linked arms up and down on alternating counts. One at a time they present a foot and shift their weight forward while repeating the arm movements. The layered movements and musical intricacies are challenging, but these four dancers make it look effortless nonetheless.

An exhilarating display of curvaceous arms, hard-hitting leg extensions and continuous stop and go action,Endless Arc, set to Bela Bartok’s String Quartet No. 4, shows us another side of Puder. “For Soluna I knew I wanted a full company piece that would be different than the other repertoire we were presenting. The music is so driving and energetic. It demands a certain quality and power.” All the elements that audiences have come to appreciate about Puder’s work are still present, including her intrinsic musicality and complex body positioning, but now there is a sense of urgency to the dancers’ movements. This urgency shows through the dancers’ explosive running and leaping passes, the push and pulling quality behind their partnering and Ilina’s head-whacking grande battement derriere.

The Soluna: International Music & Arts Festival runs May 4-24 with Avant Chamber Ballet’s performance taking place at Dallas City Performance Hall on May 5 at 7:30 p.m. Beginning at 6:30 p.m. in the DCPH lobby, Anita N. Martinez Ballet Folklórico will perform.

This preview was originally posted on TheaterJones.com.

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Q&A: David Parsons, Parsons Dance

UGH! I am behind in posting some articles here. Parsons Dance was in town last weekend and they were simply amazing. You can find out more about the man behind the company, David Parsons, below. Even over the phone the man has a commanding presence.

David Parsons. Photo: Lois Greenfield

David Parsons. Photo: Lois Greenfield

The contemporary choreographer on his inspirations, his famous solo Caught, and performing for TITAS.

Dallas — David Parsons is no stranger to Dallas. In fact, his solo work Caught which uses strobe lights to create the illusion that the dancer is flying has been featured at the annual TITAS Command Performance twice in the last five years. It’s one of those pieces you never get tired of seeing which is great since it will be making its third appearance in Dallas this weekend as TITAS presents Parsons Dance at the Winspear Opera House. This company is known for its physical and visual prowess so you definitely don’t want to miss them.

Raised in Kansas City, Parsons moved to New York City at 17 to begin his dancing career. He joined the Paul Taylor Dance Company in 1978 where he danced many leading roles in works such as Arden Court, Last Look andRoses. Parsons has also appeared as a guest artist with the Berlin Opera, MOMIX, New York City Ballet and the White Oak Dance Project. He founded Parsons Dance in 1985 with lighting designer Howell Binkley who went on to win a Tony Award for best lighting design of a musical for Jersey Boys in 2006. Parsons and Binkley are currently working on a new project together which they will premiere in Kansas City this June.

Over the last three decades Parsons Dance has toured 30 countries and five continents and has performed in world class venues, including the Kennedy Center for the Performing Arts, Maison de la Danse, Teatro La Fenice and Teatro Muncipal. His works have also been performed by Batsheva Dance Company of Irsael, Hubbard Street Dance Company, Nederlands Dans Theatre and Paris Opera Ballet just to name a few. Parsons is also a recipient of the 2000 Dance Magazine Award, the 2001 American Choreography Award and the 2011 Dance Master of America Award.

Parsons Dance will be in Dallas at 8 p.m. Saturday, April 25 at the AT&T Performing Arts Center’s Winspear Opera House. The evening’s program includes Parsons’ Caught(1982) Bachiana (1993) and Whirlaway (2014) as well as pieces by Robert Battle, Trey McIntyre and Natalie Lomonte.

TheaterJones asks David Parsons about breaking into the world of contempororay dance, developing his choreographic voice and the creative process for his phenomenal work, Caught.

TheaterJones: How did you enter the realm of contemporary dance?

David Parsons: I started out as a gymnast and I specialized in trampoline. So you can see where Caughtcomes from. Basically my mom didn’t know what to do with me during the summer so she would put me in arts camp and that’s where I was introduced to contemporary dance. In my mind it was incredibly challenging because dance isn’t just about moving around. It’s colors, lights, choreography, costumes and business, and it was a huge revelation for me. Then I started learning technique and you find freedom in technique. I then saw the Paul Taylor Dance Company and I knew I wanted to be in that company. I actually went to New York because I received a scholarship from Alvin Ailey, but once I got into Paul’s studio and he said I could hang around and understudy I knew I wasn’t going to leave.

What did you discover about your artistic self while dancing with Paul Taylor?

Paul Taylor is a genius and he was a great teacher for me. His work is so profound and I was totally attracted to the physicality of his work. I mean that is dance and we do the same thing at Parsons. You can’t come into this company and not be able to do a mild sprint I can assure you. It was probably a year after I joined Paul’s company that I knew I wanted to be a choreographer. I had done trampoline routines and other choreographic ventures, but I knew I needed to learn about music and lighting design and so I studied Paul like a sponge. I would study the tools and structures he used in his choreography as well as his business model. The experience turned out to be Taylor University for me.

The Dallas program includes Caught (1982), Bachiana (1993) and Whirlaway (2014). Looking back at what point would you say you found your choreographic voice and how does your work reflect this?

I really found my voice when I made three pieces within two years. They were Caught; The Envelope, set to Rossini, which was a comedy; and Brothers, which was done to Stravinsky and looked at sibling rivalry. Those three pieces kind of set the pace for me because they were all so different. I am somebody who pushes to have a huge variety in my program. Brevity is important too. But for me it was really about making the audience feel like they are on an emotional rollercoaster. Meaning that we would do humorous and dark works all in one evening. So it’s like your day. You wake up and throughout the day you’ll laugh or maybe cry or be sad. We really like to take the audience through an emotional, visual and physical roller coaster. We also communicate well with the audience. I like to touch things that we’ve all experienced like The Envelope for instance. It’s about an envelope and the performers just can’t get rid of it. It keeps coming back on stage. Then there’s Sleep Study which is done with only the movement of sleeping and then Caught which connects you with flying and that inner dream that we all have. Then there’s just beautiful pieces like Whirlaway which connects you to New Orleans. It takes you on an actual trip somewhere.

Caught is always a crowd pleaser wherever you go. Can you talk me through the process you went through to put this work together?

I created the solo at a very young age. When I first came to New York at age 17 I worked a lot of odd jobs including being a stunt model. And on these jobs I worked a lot with photography and that’s how I found out that Caught could be done. That there was a way for me to connect with people’s primitive need to fly. We all dream of flying and that’s the connection I was interested in. Again, when I make dances I’m interested in touching everybody in personal way. I look for those things that we all have in common. So, once I understood that I could catch myself in the air on a dark stage and take the same shape and move it around it’s really like looking at a live photo shoot all, of course, hovering over the ground. It really was just trial and error and fun to put together this journey of a man who starts in a room in conventional lightening preparing himself to fly and then he takes flight. This is a little contemporary gem that people love to see over and over again with different casts, sometimes it’s a woman, and it’s quite an astounding piece.

Eric Bourne in David Parsons' Caught. Photo: Angelo Redaelli

Eric Bourne in David Parsons’ Caught. Photo: Angelo Redaelli

From the get-go did you know you wanted to use strobe lights?

Yes, the whole piece was wrapped around me finding the idea of working with a strobe light like that. Some people say it’s a gimmick, but I say it’s a darn good one.

Do you have to adjust the timing of the strobe lights or the dancer based on the size of the venue you are using?

Yes, depending on the size of the stage the dancer does have to change his timing. I mean this is millisecond timing we are talking about here. We also do this piece outside and sometimes there is extraneous light like there was in Rome and I went around and put garbage bags over every lamp on this pedestrian walkway. In this instance you have to flash the strobe lights a little bit faster when there is ambient light so that the audience can’t see the dancer moving in between shots. On a totally dark stage we don’t have that problem. So, there are a lot of things we have to do for an outdoor venue compared to indoor venue compared to a small stage or an Opera house. It’s all constantly changing.

You and your lighting director, Howell Binkley, have known each other for more than 30 years. How did you two meet?

Howell was brought in as the lighting supervisor for Paul Taylor so we toured together and became buddies. And one time when we were sitting on a bench in France I told him I was thinking about starting a company once we got back to New York and he said he was right there with me. Now he is one of the major lighting designers on the planet. He did the lighting design for Jersey Boys and [Lin-Manuel Miranda’s] Hamilton. We are currently working on a piece that will premiere in Kansas City at the [Kauffman Center] this June.

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Review: Music In Motion, LakeCities Ballet Theatre

LakeCities Ballet Theatre performs a season finale program called Music in Motion. Photo: Nancy Loch Photography

LakeCities Ballet Theatre performs a season finale program called Music in Motion. Photo: Nancy Loch Photography

LakeCities Ballet Theatre closes its season with fresh moves and dexterous classical technique during its spring performance.

Lewisville — Don’t let the name fool you. LakeCities Ballet Theatre (LBT) is much more than a pre-professional ballet company, and they proved that Saturday night with Music In Motion at the MCL Grand Theater in Lewisville, ending their season on a high note. Known for their exuberant story ballets and exquisite technique, it may have surprised some to see the company attacking other dance styles such as modern, jazz and contemporary with the same boldness they do classical ballet.

The show opened with a flirty, baroque-fashioned pointe number choreographed by LBT staff member and Juilliard alum Deborah Weaver called Les Oiseaux de Ville. Weaver’s trained ear picked up on all the instrumental nuances in Aram Khachaturian’s composition which added new vigor to the art form’s unchanging technique. For example,pique arabesques finished with flexed palms and bourrees executed with fluttering hands drew attention to the music’s various instrumental phrases. The gold-laced, fingerless gloves which matched the 12 dancers’ gold and white knee-length tutus boosted the visual appeal of these movements. Weaver’s expanding and contracting formation changes and explosive cotangent sequences were also visually stunning.

Shannon Beacham’s Urban Perfume was the biggest surprise of the evening. Set to music by Sven Helbig this contemporary jazz number, performed in soft shoe, featured daring leaps, aggressive runs and simultaneous head and body isolations. The piece started with the six dancers stepping into second position with a contracted torso and arms thrusting down and away from the body. The phrase was repeated as the dancers switch places. As the music built the running became more frantic till the dancers exploded into fouette arabesque leaps and head-whackingbattements. Beacham’s time with Texas Ballet Theater and the Bruce Wood Dance Company showed through his quirky, yet controlled body movements and the opposing tempos he assigned each dancer during certain sections. The dim lighting and shimmering biketards added to the suspense of the piece. Even through the ending was a little underwhelming with the dancers simply running off stage, the core material of the work was still edgy and inspiring.

LBT in Shannon Beacham's Urban Perfume. Photo: Nancy Loch Photogrpahy

LBT in Shannon Beacham’s Urban Perfume. Photo: Nancy Loch Photogrpahy

Pulling double duty as choreographer and performer, Beacham and his wife Christa were phenomenal in their roles as Romeo and Juliet in the ballet’s balcony Pas de Deux. Every caress and assisted lift exuded passion. The trust between the two was undeniable as Christa catapulted herself into Beacham’s arms only to be pressed up into a standing position above his head. The traveling steps for the pair may have been simple but the assisted pirouetteturns and alternating ponche arabesque holds were anything but. Sergei Prokofiev’s heart-wrenching composition only enhanced the couple’s star-crossed love for one another.

LBT 2 Director Shannon Tate’s Where the Sun is Silent challenged the dancers with its modern verbiage and dramatic storyline. Dressed in black liturgical dresses the 10-member group started clumped together arching back and reaching in different directions. The movement encompassed various modern dance techniques, including Martha Graham’s signature contractions and back hinges as well as Lester Horton’s lateral T’s and general ferocity.

The first act ended with LBT Assistant Director Nancy Loch’s rock ballet Move It! which the company premiered in 1998. Dressed all in black with music by Church of Rhythm this funky pointe number transported the audience back to the 90s’. This 17-person ensemble moved with The Rockettes precision as they shifted into a straight line and moved clockwise around the stage on pointe. The walking which made up a majority of the piece was accompanied by hand gestures resembling Madonna’s 1990 Vogue video.

In the second half LBT revealed what they do best in Joseph Mazilier and Marius Petipa’s Paquita. Known as one of the most technically challenging 19th century ballets, Paquita demanded serious control, technical brilliance and unending endurance from the LBT dancers. The first thing audience members noticed was that in many sections the corps mirrored the movement of Principal Dancer Mackenna Pieper. While one or two arabesque holds where not quite aligned with the rest overall the corp gave a strong unified performance. Ali Honchell, Michelle Lawyer and Beacham excelled in the multi-tempoed Pas de Trois. The female’s solos were filled with complex entrechats (a weaving jump from fifth) with multiple beats, double pique turns and grand jetes which they handled with poise. And Beacham seamlessly maneuvered both dancers through a series of composed arabesque and attitude holds.

Steven Loch and Mackenna Pieper in Paquita. Photo: Nancy Loch Photography

Steven Loch and Mackenna Pieper in Paquita. Photo: Nancy Loch Photography

Guest Artist Steven Loch was a powerful force in the pas de deux, but the shining star of the evening was Pieper as Paquita. Tall and leggy Pieper gave each slow developpe arabesque its due. Pieper also managed the quickpirouettes and cabriole soutenu sections with exemplary control and fiery spirit. Overall Paquita was a great match for LakeCities Ballet Theatre. The ballet’s detailed classicism, specifically the proper epaulement (upper body positioning), is one of the many skills Artistic Director Kelly Lannin has drilled into her dancers’ bodies with great results.

This review was originally posted on TheaterJones.com.

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Review: 13th Annual Plano Dance Festival

Plano Metropolitan Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

Plano Metropolitan Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

Deluxe Package

The 13th Annual Plano Dance Festival delivers fine technique and a diverse array of dance styles with the aid of some local dance companies.

Plano — It’s always nice to step away from the professional dance scene in Dallas and see what the local dance community is up to. And if the Plano Dance Festival on Saturday afternoon was any indication, these pre-professional groups have been busy exposing their dancers to different techniques to add to their wheelhouse and build self-confidence. The festival, which took place at the Courtyard Theater in Plano, had an even balance of traditional and contemporary ballet pieces intermixed with other dance styles, including tap, modern and Chinese folk dance.

For hardcore balletomanes there was Marius Petipa’s La Bayadere solo performed by Avant Ballet Chamber company member Yulia Ilina, as well as Mikhail Fokine’s memorable Dying Swan solo performed by guest dancer Melian Izotova from Colorado-based Premiere Ballet. Ilina’s supple feet and lethal legs were a perfect match for Petipa’s slow, controlled bourres, alternating promenades and multiple arabesque holds. And Izotova completely embodied the role of the swan with her exacting point work and rippling arm movements resembling a swan’s wings.

Dallas-based professional dancers Lea Zablocki and Shea Johnson gave a spot on performance with August Bournonville’s Flower Festival in Genzano. Like all classic story ballets, the movement in this pas de deux consisted of exaggerated gesturing and heart-felt embraces. Johnson’s control over his landings has improved, adding polish to his already clean technique. Zablocki excelled in her turning sections executing multiple pirouettes in quick succession without a hitch. The press-up lifts from the knees in the Romeo and Juliet piece proved challenging for Dallas Neo-Classical Ballet’s David Sanders, but he recovered to complete the passionate number with fellow company member Katie Stasse.

Avant Chamber Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

Avant Chamber Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

The most surprising classical performance of the afternoon came from the festival’s host company, Plano Metropolitan Ballet (PMB), in the opening number pointe number Meridian. Dressed in deep blue leotards and white tutus, the 14 dancers showed both technical and musical growth in this invigorating piece set to The Vitamin String Quartet and choreographed by Madelaine Boyce. Standard ballet phrases such as tombe pas de bourre soutenu, pirouettes, and alternating epaulement(shoulder, head and neck) positions were livened up with continuous formation changes and musically-timed cannon arrangements. Boyce’s choreography also adequately displayed the dancers’ proficiency in both allegro and adagio movement and was well received by the audience.

In the realm of contemporary ballet there was Dallas Neo-Classical Ballet’s You Are a Memory and Avant Chamber Ballet’s Endless Arc, a new work by Artistic Director Katie Puder. In the first, dancers Katie Stasse, Laura Pearson and Emily Gnatt performed a series of rudimentary ballet steps mixed with more contemporary movements such as flat-footed walks, hand gestures and body contractions. The two dancers dressed in white pulled the third, dressed in red, through a number of interweaving body positions before finally pulling away from one another. Music by Ryuichi Sakamoto and dim lighting only added to the somber tone of the piece. Puder’s Endless Arc was more aggressive compared to previous works, but still contained all the elements that we admire about her, including continuous traveling movements, abrupt direction changes and dynamic partnering skills. Both pieces were just peaking when they suddenly ended in a blackout.

The Gaudium Dance Movement captured the audience’s attention with its star-spotted back lighting and pillow props in Gina Lee’s Midnight. The dance started out promising with the four dancers traveling across the space on their backs using the pillows as leverage. The dancers then travelled around the pillows as they resisted the space with arm reaches and open-chested releases. The pillows are re-introduced at the end when the dancers pulled chains and rope from the pillowcases before the lights faded out, leaving the audience to question their significance.

Dallas Neo-Classical Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

Dallas Neo-Classical Ballet performs at the 13th Plano Dance Festival. Photo: Sharen Bradford/The Dancing Image

Epiphany DanceArts performed excerpts from Balanchine’s Diamonds in which they acted out the effects bullying has on society through their signature lyrical movements blended with more sultry and staccato steps to music by The XX and The Piano Guys. Collin College’s Collin Dance Ensemble and Dallas Black Dance Academy’s Senior Performing Ensemble both demonstrated basic modern dance techniques (i.e. Martha Graham and Merce Cunningham) in Tread and This Place is a Shelter. The Dallas Black Dance Academy Seniors also performed a rhythmic African-infused piece entitled Confluence.

The program also included some wickedly fly and fun footwork from Dallas-based Rhythmic Souls Youth Residency and Choreo Records Tap Ensemble as well as some beautifully intricate Chinese folk dance from Jiaping Shi Dance School.

Festival coordinator and Plano Metropolitan Ballet Artistic Director Cindi Lawrence Hanson should be pleased with how her group and the festival have grown over the last 13 years. Audiences should look forward to what she has in store for next year’s event.

This review was originally published on TheaterJones.com.

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Simple Touches

Courtesy of Beckles Dancing Company.

Courtesy of Beckles Dancing Company.

Beckles Dancing Company celebrates 20 Years of Madness & Magic with a classic yet fresh performance at the South Dallas Cultural Center.

Dallas — In this age of dance sometimes less is more, as the Beckles Dancing Company demonstrated Friday night at the South Dallas Cultural Center with its annual spring show, 20 Years of Madness & Magic. Over the last two decades Artistic Director Loris Anthony Beckles has developed a movement style which focuses on sustained body positions and clean technique over flashy tricks and unnatural flexibility. All 12 pieces on the program, which included six new works, featured basic ballet, modern, jazz and African dance technique, but when you add in Beckles’ signature swooping arms and legs, subtle gesturing and stoic body positions, suddenly these moves appeared new and exciting. Prime examples were Beckles’ Claret Tango (premiere) and Peace-Blues-Song(2014) presented in the first half of the show.

In Claret Tango, one of the best works of the night, longtime company members Tina Mullone and Lela Bell Wesley performed an unconventional tango to music by Astor Piazzolla. Using one another for support, the dancers performed a series of glides in a waltz-like fashion around the space, pausing every so often to shift into a counter balance pose. Simple moves such as a releve in first position or a lunge in fourth were enhanced with swinging arms and deep contractions. A bench enabled the dancers to reach new heights with their movement choices. But what stood out the most was the easy-goingness of the piece. The dancers never rushed, instead they luxuriated in the process of extending an arm or stepping into arabesque. Peace-Blues-Songs with music by Gil Scott-Heron and Brian Jackson started on a somber note with the whole company slowly uncurling on the floor. One at a time they rose up to perform a series of lunges and plies made more challenging by subtle weight shifts and alternating arm patterns. The piece picked up momentum when the dancers broke into solos and trios that highlighted their musicality and quick foot work. The constantly changing entrances and exits from the stage added a layer of anticipation to the work. What the dancers need to work on going forward is maintaining the same energy and commitment to the movement throughout the whole piece.

Beckles showed audiences his playful side in his new work Magical to the lounge-type musing of Betty Carter. In this piece Beckles used head bobs, upper body isolations and hip swivels to emphasize the various pulses in the music. Just like patting your head and rubbing your stomach at the same time, the dancers scurried across the floor while executing a series of hand gestures, hip isolations and head bobs in perfect sync with the music. Even though the piece ends somewhat abruptly the continuity of the dance stays with you. In Second Movement, set to music by Maurice Ravel and Herbie Hancock, Beckles showed yet another side of himself with this endearing pas de deuxbetween Momentum Dance Company members Ian Forcher and Gianna Lentzen. Here Beckles blended classic point work and steadfast partnering with gestural nuances to create something relatable and distinctly human. It’s also one of the few works with a satisfying ending.

The second half contained a short, expressive solo by dancer Stacey Lotten entitled Yor (2007) and the well-conceived and purposefully danced group piece, WaterWays (2014). The evening ended on a high note with Du Lahka (1995). Choreographed by company founder Andre R. George, this duet between Layla Brent and Jared Brown was a heady mix of controlled body manipulations and moments of unfiltered vulnerability. Dressed in a skin-toned unitard (Brent) and leggings (Brown) audiences could see every muscles in their arms and backs flex as they pulled away from one another in a counter balance hold. Connection was key as they tested their balance in a number of one-legged extensions and interlocking body shapes, such as when Brent has her legs wrapped around Brown’s front and slowly arched backwards to the audience.

 This review was originally posted on TheaterJones.com.

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Q&A: Choreographer John Selya

Courtesy of SMU

Courtesy of SMU

The Twyla Tharp dancer on his journey from ballet to Broadway and creating his new work, Darkside, as part of the SMU’s Meadows School of the Arts Spring Dance Concert.

Dallas — John Selya is not your typical ballet dancer. In addition to classical ballet, Selya is also well versed in Twyla Tharp’s free flowing movement style and is an authoritative voice when it comes to the ins and outs of dancing on Broadway. A native New Yorker Selya attended the School of American Ballet before joining American Ballet Theatre (ABT) in the late 80’s. It was here Selya was exposed to Tharp’s classical, yet quirky way of moving for the first time. Selya spent 11 years with ABT before leaving to join Twyla Tharp Dance. In 2003 he made his Broadway debut performing the central role of Eddie in Tharp’s Tony-winning show, Movin’ Out. His performance earned him a Tony nomination for Best Actor in a musical, an Astaire award for outstanding dancing on a Broadway stage and a Theater World Award for outstanding Broadway debut. Since then, Selya has also appeared in Damn Yankees, Guys and Dolls and Tharp’s recent Come Fly Away.

Selya is currently an artist-in-residence at Southern Methodist University’s Meadows School of the Arts where he is working with students on his new work, Darkside, part of the Meadows Spring Dance Concert which runs March 25-29 in the Bob Hope Theatre. Using music from Pink Floyd’s Dark Side of the Moon album, Darkside adds a visual element to the groundbreaking musical composition (which is the second best-selling album of all time after Michael Jackson’s Thriller according to Wikipedia). The work follows an inquisitive philosophy student named Emily on her journey to decipher the teachings of her professor and fulfill her destiny. The program also includes Danny Buraczeski’s acclaimed 1999 piece Ezekiel’s Wheel, inspired by the life and work of author and Civil Rights activist James Baldwin and a new work by Dallas-based choreographer Joshua L. Peugh entitled The Hi Betty Cha-Cha.

TheaterJones asks John Selya about his experience working with the legendary Twyla Tharp, transitioning from ballet to Broadway and creating his work, Darkside.

TheaterJones: Going into rehearsals did you have a clear vision of what you wanted Darkside to look like?

John Selya: Going in I knew I wanted to use Tom Stoppard’s radio play which is inspired by Pink Floyd’s Dark Side of the Moon album. The radio play is split up between dialogue and music, and the more I listen to it and the more I see the work; it’s more like a musical than just a dance. You have your spoken word passages and Tom Stoppard has segued seamlessly into songs from the album. So, when I initially decided to use this for the SMU piece I did have a clear aesthetic vision. I had a vibe that I wanted to create. I wanted to go for an interactive dance piece where the dancers were not confined just to the stage. In the musical Hair, the director, Diane Paulus, had the actors come out into the house and I thought this would be a great exercise for young performers such as the students at SMU to really become comfortable with being themselves at close range. So, that’s what my aim was.

Darkside follows a strong storyline. Do your prefer creating more story-driven pieces vs. abstract work?

I really go for a mix. I like to rely on the storyline just as a general compass, but then I don’t like to adhere to it too much. But what really appealed to me about the Tom Stoppard/Pink Floyd collaboration was that I feel Stoppard was able to add another element independent of what the songs had already said. So, you’re not just reflecting it; you’re adding to it. But that storyline has your compass pointing you where you want to go, and once I go there then I try to become abstract. I also want to add that this radio play is not a simple storyline. I don’t know if it’s just me, but it takes me a long time to fully absorb what Stoppard is saying and why he is saying it. So, I wouldn’t call this a simple storyline. At least not for me.

Were any of the dancers familiar with Pink Floyd prior to this piece?

Some of them knew their greatest hits, but not everyone was familiar with the music and frankly there wasn’t much time to delve into the history and the body of work of Pink Floyd. And I’m sure the dancers kind of felt uncomfortable like they were flying blind because I didn’t explain much to them while we were working except for the basic quality of physical movement that I wanted. I think it was tough for these dancers to not deal with definites. A lot of times in my process of choreographing the intention of a part is unclear and I’m waiting for it to reveal itself. Again that is kind of flying blind and is a much different approach to making work than they’ve been used to so, that was a learning curve all around. They would ask me questions like what are we here and the most I could tell them was that they are the weather of the piece.

After this experience what would you say is the biggest difference between choreographing for college students and seasoned professionals?

I think for the students it’s just a matter of trusting their own artistic identity. They haven’t had that long to forge their own artistic identity and their own movement quality, and I think they’re not used to relying on that and capitalizing on the individuality that they bring to a piece. That’s the biggest difference between so called seasoned professionals and students. I chose these dancers for the piece because there was something about their individuality that appealed to me and that fit right in with what I wanted to do.

What can you tell me about the dance sequences in the piece?

It’s mostly group dances onstage, but there are pas de deux that happen in the audience. What I wanted to set up is the protagonist, named Emily, goes on this journey as cliché as that sounds. So, I have her travelling around the auditorium and ultimately coming onstage to join the other dancers at the end. So, it is mostly group dances and the transitions, I hope, are seamless because as a director that is what I really work hard at is making things flow naturally. I tell the dancers it’s like these Italian road bikes are made really well and the way you see the craftsmanship is the links between the tubes where all the ornamenting is so, I go for that. I hope it flows and if it doesn’t there is still work that needs to be done.

What kind of atmosphere are you trying to create for the audience?

I would say it runs the gamut it terms of emotions. I do like psychedelic especially in the theater, but then there are moments of darkness and at the end I have attempted to do kind of an epiphany.

Looking back on your career what made you decide to leave ABT and join Twyla Tharp Dance?

I met Twyla at ABT when she was hired as the artistic associate and as a result the company absorbed some members of her company. I was amazed to see these totally different dancers in our ranks. ABT had been a solely classical company and in comes Twyla’s group of free formed versatile dancers. Classically trained most of them, but they had something that I had never heard before called movement quality. It was just amazing to have that kind of exposure to a whole other vocabulary of movement. So, anyway Twyla saw me in class during my first tour and she came up to me after and gave me a bunch of corrections on grande jetes and ever since then she has always invited me to work with her. I was just so fortunate that someone took an interest in me and was able to take my training as a classical dancer and extend it into something a little more accessible. Which is what I love about Broadway because you access a whole other audience.

What was the hardest part of transitioning from classical ballet to Broadway?

I don’t think it was hard at all. Working with Twyla on Movin’ Out I just felt at home and I felt like I had a role that was kind of tragic and I loved it. I mean it wasn’t Tommy Tune’s Broadway we were in. We weren’t in tap shoes and sequin vests. My character in Movin’ Out was a mix of Michael Jordan and Bob Dylan and it was a role I could really relate too. I would say it’s more difficult leaving Broadway. For me it’s the ultimate way to really work on your dancing. You have the same thing to do every night and you really get to refine it and really get into the role. It’s fantastic!

How was Twyla’s Broadway work different from what other choreographers were doing at that time?

What Twyla brought to Broadway it was she calls deep dancing. You are basically telling the story through the dancing and very seldom is that done. And it is not done as extremely as it is done by Twyla. I think she crafted a story that was relatively easy to follow, but for me was challenging to execute. Her trust in dancing to tell a story to a Broadway audience is the main thing I think she brought to the industry.

What are some of the lessons she has taught you as an artist?

I’ve learned from her to take no short cuts in the work that you do. I’ve learned to always keep it interesting for yourself. I’ve learned never to keep a regular rhythm when you dance. And I am still learning. There’s a new lesson basically everyday with Twyla.

This Q&A was originally published on TheaterJones.com.

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Forward Thinkers: Katie Puder, Avant Chamber Ballet

Photo: Robert Hart

Photo: Robert Hart

With numerous successes in its short history, including its first full-length ballet and performance at Dallas DanceFest, Puder’s Avant Chamber Ballet is one step closer to its goal of reconnecting live music and dance.

Over the past three years Avant Chamber Ballet (ACB) has accomplished what takes most small ballet companies years to do. Along with bringing together a cohesive group of talented professional dancers and building a solid audience base, ACB is also filling a void in the Dallas dance scene with the use of live chamber music at its performances. This feat can be attributed to Artistic Director Katie Puder’s tenacity and resourcefulness both artistically and enterprisingly speaking.

Puder began her ballet training with Wichita Falls Ballet Theater before moving to Fort Worth at age 13. She continued training with Paul Mejia and Maria Terezia Balogh and at 17 she joined the Metropolitan Classical Ballet. The idea for starting ACB came to Puder while attending multiple Dallas Symphony Orchestra (DSO) concerts. “I was inspired to start doing more choreography just from hearing so much fantastic live music. Our first choice for the musicians for our performances are always DSO musicians, and I think very few ballet companies in the world can say they have musicians of that quality performing with them.”

With the aid of DSO principal horn David Cooper, ACB’s focus is on strengthening the ties between live music and dance in the Dallas area. Since its inception in 2012, ACB has performed eight new works, including Puder’sExactly Woven and Carnival of Animals, which premiered at the Eisemann Center in October 2014. This past year ACB also produced its first full-length ballet, Alice in Wonderland, with a commissioned score by resident composer Chase Dobson to positive reviews. “It seems that dance audiences have really missed live music. We also have a part of our audience who are music fans and we are their first exposure to dance performances. I love hearing from people who are discovering how exciting live ballet and music can be for the first time.”

Not one to idle, Puder is always looking for news way to increase exposure while also enriching the local dance culture. Participation in local dance festivals this year, including the {254} DANCE-FEST in Waco and the reimagined Dallas DanceFest at the Dallas City Performance Hall has helped ACB expand its reach within these communities. Puder’s plans for 2015 include the company’s first Women’s Choreography Project, which happens this weekend at Richardson’s Eisemann Center for the Performing Arts and a collaboration with the Dallas Symphony Orchestra’s SOLUNA: International Music & Arts Festival in May.

The Women’s Choreography Project, a series she plans to continue, features work by Puder and local choreographers Elizabeth Gillaspy and Emily Hunter, as well as guest choreographer Amy Diane Morrow.

A firm believer in supporting other local artists Puder has invited local dance companies such as Dark Circles Contemporary Dance to come perform with ACB. Puder is beginning to see this supportive stance spread across the whole dance community. “I have this feeling of a real community between different companies and circles. There is more awareness of what other people are doing and people are being supportive.” With Puder’s work ethic ACB will continue to draw in new audiences and raise the bar for other professional dance companies in the area.

This piece was originally posted on TheaterJones.com.

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