Category Archives: Local Dance News

Choreographer Bridget L. Moore Establishes New Dallas-based Dance Company.

Bridget L. Moore has thrown her hat into the professional dance arena in Dallas with the announcement of her newly-founded contemporary dance company, B. Moore Dance!

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Bridget L. Moore (second from left) rehearses Following Echoes with Bruce Wood Dance. Photo: Sharen Bradford/The Dancing Image

Smart, innovative, familiar, yet worldly. Those are the words that come to mind when I think of Bridget L. Moore and the pieces she has put out since moving back to Dallas in 2017 to take on the role of artistic director for Dallas Black Dance Theatre (DBDT). In particular her work, Uncharted Territory, which started out as duet for the 2017 TITAS Command Performance and was later turned into a full company piece for DBDT’s Director’s Choice performance the following fall.

Unfortunately, Moore was released from her position after only one season with DBDT for reasons that still remain a mystery. (What do you think happened?)

Since then I have been keeping my fingers crossed that Moore would be able to find enough creative and profitable outlets around town to keep her here in Dallas. And it appears she will be staying, at least for the foreseeable future, after announcing on her Facebook page on Friday that she has started her own contemporary dance company, B. Moore Dance Company. (Seriously, can that name be anymore perfect! I am all for more dance in Dallas baby!)

With deep connections to Dallas I’m sure she had no problems finding talented individuals willing to work with her. After all, she has taught and set works for so many local arts institutions over the years, including DBDT, University of Texas at Dallas and Booker T. Washington High School for the Performing and Visual Arts where she was also the artistic director of the World Dance Ensemble. Reading through the dancers’ bios on her website, bmooredance.org, almost every member of the company is a graduate of Booker T. and has worked with Moore in some artistic capacity. B. Moore’s troupe is comprised of Timothy Amirault, Taylor Boyland, Lindzay Duplessis, Hailey Harding, Alyssa Harrington, Xavier Santafield, Aminah Maddox and Chaslen Osler.

Now, I’m sure everyone is asking themselves if there is even any room left for another contemporary dance company here in the Metroplex. And my answer would be yes because this is Bridget L. Moore we are talking about here! Firstly, she already has an established fan base thanks to her local roots and years of extensive training, educating and choreographing for many local arts organizations. And then there is the global aspect in her artistic voice, which comes from her international dance studies, and is something that no other contemporary dance company in the area will be able to match.

So, congrats Bridget L. Moore on your accomplishment and I can’t wait to see your first performance!

 

 

 

 

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Avant Chamber Ballet Presents World Premiere at Holiday Performance in Southlake, TX

You can always count on Avant Chamber Ballet to get you into the holiday spirit without sending you into a Christmas coma!

ACB Nutcracker Eugene Barnes III and Yulia Ilina PC Sharen Bradford
Company Members Eugene Barnes III and Yulia Ilina. Photo: Sharen Bradford/The Dancing Image

Known as a nutcracker rebel, Katie Cooper of Avant Chamber Ballet (ACB) likes to steer clear of traditional Nutcracker productions. Instead she likes to focuses on other seasonal tales to create memorable holiday performances such as A Ballet Christmas Carol, Holiday Celebration and Nutcracker: Short and Suite.

ACB will once again be performing its Nutcracker: Short and Suite in Southlake, TX, on Nov. 15, but this time the company has a special treat for viewers. In addition to its Nutcracker rendition, ACB will also present the world premiere of Cooper’s Winter from Vivaldi’s “The Seasons.” The one-hour family-friendly performance will feature ACB’s 16 professionally-trained dancers, Cezanne String Quartet, plus new costumes and choreography. Cooper also points out that this will be the only professional dance production in the mid-cities area this year.

“This performance is a perfect introduction to live classical music and dance,” Cooper says in a recent press release. “Vivaldi’s ‘The Seasons’ is one of the most recognized pieces of music, but to see it with choreography and dance takes it to another level for the viewer. Nutcracker: Short and Suite is the second half of the evening with the best parts of Tchaikovsky’s The Nutcracker and all the characters that you love.”

The performance is presented by Apex Arts League and ticket information is available at www.apexartsleague.com.

 

 

Bruce Wood Dance Announces New Artistic Director

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Bollinger’s Hillside. Photo: Sharen Bradford/The Dancing Image

Beginning this fall season Joy Atkins Bollinger will take the helm as artistic director of Bruce Wood Dance as Kimi Nikaidoh transitions to her new role of artistic advisor.

Kimi has done extraordinary job of commissioning new works from guest and in-house choreographers while also ensuring Bruce’s voice and vision remain alive and relevant. Since Kimi took over the reigns of the Dallas-based troupe in 2014 the company has peformed works by international choreographers such as Bryan Arias, Andy Noble, Katarzyna Skarpetowska and Bridget L. Moore as well as pieces by in-house talents like Joy Atkins Bollinger and Albert Drake. During her tenure Kimi also brought her own voice to the stage with Find Me and Bloom. I am sad to hear Kimi is moving away, but I’m sure she will still have a say in BWD’s programming moving forward. But I am excited to see the type of energy and connections Bollinger can bring to the table. Company dancer Eric Coudron will also be stepping into the role of rehearsal director.
See the full press release below:

 

FOR IMMEDIATE RELEASE

August 27, 2018

Bruce Wood Dance Announces New Artistic Leadership

 DALLAS, Texas––Bruce Wood Dance (BWD) welcomes a new artistic team as the company moves into its autumn season. The BWD Board of Directors has appointed Joy Atkins Bollinger as artistic director, Kimi Nikaidoh as artistic advisor, and Eric Coudron as rehearsal director.

Bollinger has been affiliated with Bruce Wood® for more than 16 years. From 2014 to 2018, she served as rehearsal director and répétiteur under artistic director Nikaidoh. Bollinger restaged works from Wood’s renowned repertoire and maintained the artistic caliber of the company. As a veteran dancer of the Fort Worth–based Bruce Wood Dance Company from 2002 to 2007—and a founding member of Bruce Wood Dance in 2010—Bollinger performed in approximately 50 of Wood’s works. She also became a distinguished choreographer, creating two critically acclaimed works for BWD. Carved In Stone premiered in June 2016 and Hillside in November 2017; both were listed on the annual Top Ten Lists for dance in North Texas. Mark Lowry of the Fort Worth Star–Telegram declared Carved In Stone the “single best dance in 2016;” Manuel Mendoza of The Dallas Morning News referred to it as a “major choreographic debut;” and Margaret Putnam of TheaterJones.com called it “one of the most beautiful dances imaginable.” Katie Dravenstott of TheaterJones.com said, “Bollinger proved not to be a one-hit wonder with her second visually moving work, Hillside . . .” In addition, Bollinger was commissioned by Texas Christian University for the 2017 TCU Spring Dance Concert and recently by Dallas Black Dance Theatre for the 2018 fall dance production, Directors Choice, at the Wyly Theater.

“I am honored to step into the role of artistic director. It is my hope to continue presenting Bruce Wood®’s genuine, provocative, and extraordinary works while offering new, high–caliber productions for our community,” Bollinger says.

Kimi Nikaidoh, who assumed the role of artistic director following the untimely passing of founder Bruce Wood® in 2014, becomes artistic advisor. As a veteran dancer of Wood’s Fort Worth–based company, former member of Complexions Contemporary Ballet, New York–based performer and choreographer, and founding member of BWD, Nikaidoh was instrumental in maintaining Wood’s repertoire, expanding the company’s choreographic range through new commissions, and raising BWD’s national profile. Following a move to Los Angeles, she will continue working with the company as an advisor and collaborator.

“For 19 years, Bruce Wood®’s mentorship and legacy have been powerful sources of inspiration and fulfillment for me. It has been exciting to see Bruce Wood Dance flourish in Dallas and beyond, and I look forward to the unique ways I can continue serving the company,” says Nikaidoh.

Eric Coudron, a BWD performer from 2014 to 2017, rounds out the artistic leadership as rehearsal director. Coudron is a dance teacher at Prodigy Dance & Performing Arts Center in Frisco, and a graduate of SMU Meadows School of the Arts with a BFA in Dance Performance.

Executive director Gayle Halperin shares, “We are overwhelmingly grateful to Kimi for her unparalleled dedication, meaningful leadership, and work as a visionary, mentor, choreographer, and performer. Her successful leadership was evidenced by D Magazine’s award for Best Dance Company in 2017, two consecutive appointments to the TCA Texas Touring Roster, BWD’s performance of her work, Bloom, at the prestigious 2018 Women in Dance Leadership Conference in New York, and BWD’s recent performance at Jacob’s Pillow Inside/Out Series in July 2018. We are delighted to continue working with Kimi.”

Board president Rubi Deslorieux states, “During the last four years Kimi has led BWD through uncharted waters with passion, elegance, and grace. With her commitment to the company’s mission and the authenticity of Bruce Wood®’s choreography, Kimi propelled the company forward. Joy has also demonstrated resplendent luster as répétiteur, choreographer, and dancer with BWD. We are excited for her to provide the artistic direction for BWD.”

BWD’s upcoming All Bruce program on November 16+17 reflects Bollinger’s and Nikaidoh’s ongoing collaboration. Nikaidoh curated the program and will restage Local 126. Bollinger will direct the company, restage dances, and oversee the full production. For tickets to All Bruce, featuring Wood’s critically acclaimed work, Bolero, visit brucewooddance.org, or call Dallas Winds Box Office at 214–565–9463.

BWD has received the following accolades––Best Dance Company by D Magazine in 2017, 2014, 2013; Best of Dallas Voice 2014–2018; and inclusion on every annual Dallas–Fort Worth Top Ten in Dance list since 2011. BWD also was appointed to the 2016–2018 and 2018–-2020 Texas Commission on the Arts Touring Roster.

BWD is made possible by its dedicated patrons and sponsors: Heritage Auctions (HA.com); TACA; Texas Commission on the Arts; National Endowment for the Arts; James+Gayle Halperin Foundation; Donna Wilhelm Family Foundation; Roger Fullington; City of Dallas Office of Cultural Affairs; Ellen Kendrick Creative, Inc.; Lancaster+Associates, Inc.; Dallas Arts District; VisitDallas.com; and 2018 Commissioners Circle.

Dallas Dances: 6 o’Clock Dance Theatre

Executive director Marielle McGregor on carving out space in the local contemporary dance arena and presenting Brush to Canvas at Dallas Dances.

6 o’Clock Dance Theatre dancer Sophi Marass. Photo: Ace Anderson

Dallas — As the Dallas arts scene continues to grow so has the number of contemporary dance companies in the area. With well-established companies such Avant Chamber Ballet, Dallas Black Dance Theatre, Ballet Dallas, Bruce Wood Dance, Dark Circles Contemporary Dance, 8&1 Dance Company and Dallas Neo-Classical Ballet claiming large chunks of the city’s ballet and contemporary dance audience, you have to wonder what a newcomer like 6 o’Clock Dance Theatre can possibly bring to the table.

Executive Director Marielle McGregor says the answers lies in the framework of the company, which was founded by Zach Law Ingram in 2014. “What makes us unique is that we are career professionals working across many industries in Dallas. But, instead of happy hour at 6 p.m., we meet to explore our art. We decided that dancers should not have to choose between art and a living wage. You can have both!”

She adds, “We have dancers who are UX designers, mathematicians, marketers and engineers. We have 9-to-5 jobs, but at 6 o’clock—that is when we dance!”

McGregor is currently the senior digital editor for Dallas County Community College District. She is also a co-founding member of 6 o’Clock Dance Theatre and serves as the executive director, managing company business and equipping the company dancers and choreographers for success.

6 o’Clock Dance Theatre will be performing Ingram’s Brush to Canvas as part of Dallas Dances’ Saturday evening program. Ingram is a Dallas native whose professional experiences include Alvin Ailey American Dance Theatre and Dallas Black Dance Theatre. He was also in the Broadway production of The Lion King. He officially moved back to Dallas this summer.

In Brush to Canvas McGregor says Ingram was inspired by the fact that a painting has no real finish. “The painter begins not knowing the end,” she says. “He [the painter] creates his art by throwing out ideas to the canvas, mixing his paints and seeing what comes back. And at some point the painter—through feeling—knows it is a complete work. And yet, at any time, he could pick the brush back up and again continue to explore more.”

McGregor adds, “Zach was also inspired greatly by the music itself. He said it gave him a lot of freedom and rather than dictating what the movement should be, it just let him paint.”

Brush to Canvas is set to “Infra 8” by Max Richter and “Thunders and Lightings” by Ezio Bosso. The piece features company members Darwin Black, Shelby Stanley Campbell, Sarah Cat Hendricks, Constance Dolph, Katricia Eaglin, Sophi Marass, Madison McKay, Marielle McGregor, Katherine Parchman, Laura Pearson, Allison Wood and Alex Yap.

> This preview was originally posted on TheaterJones.com.

 

Dallas Dances: Tejas Dance

Founder Bhuvana Venkatraman on bringing the classical Indian dance style Baratanatyam to Dallas Dances this weekend.

Chintan Patel and Bhuvana Venkatraman of Tejas Dance. Photo: Tejas Danc

Dallas — Bhuvana Venkatraman is well known in the Dallas dance community for her roles as an instructor, performer, and advocate of classical Indian dance. More specifically Baratanatyam, which, when broken down, means the dance that encompasses music, rhythm, and expressional dance or Abhinaya and strictly adheres to the Natyashastra or the scripture of classical Indian dance. Venkatraman created Tejas Dance in 2014 as a way to enrich and popularize Bharatanatyam and also identify and encourage talent in the field. Venkatraman says she and Chintan Patel (artistic director of Tejas Dance) were drawn to Baratanatyam because of its vibrancy and the spiritual beauty it has to offer.

“We believe that Baratanatyam is looking at things beyond their actual appearance,” Venkatraman says. “We consider it a medium for finding metaphors in every event in our lives and finding its deeper roots in spiritual elevation.”

The duo has performed for many local organizations, including the Indian Cultural Heritage Foundation, the City of Dallas Office of Cultural Affairs, the 2017 Dallas City Council inauguration, Karya Siddhi Hanuman Temple, Allen Radha Krishna Temple and Arathi School of Dance, just to name a few.

Tejas Dance will be presenting Ardhanareeshawara – Synchronization of Dichotomy at Dallas Dances this Saturday night. The work features music from Parshwanath Upadhye’s album Shambho. The dance will explore the age old question: Are men and women really different?

“This dance talks about the two aspects of our society—the masculine and the feminine. Thinking of both of them as separate energies is common, but the actual spiritual elevation lies in knowing and understanding that these two characteristics though so different are one and the same,” she says. “If we understand that these two are nothing but a complementing half of a major energy, we realize how futile our efforts are to prove one is superior to the other.”

“This dance gives out a strong message to think of someone’s quality and abilities beyond their gender and find beauty within everything,” she adds. “It’s a great way for adults to find themselves more elevated from the claws of society and an excellent opportunity for kids to learn important concepts that will mold them for a better future and eventually leading to a better society.”

>This preview was originally posted on TheaterJones.com.

 

Dallas Dances: kNOwBOX dance

Co-creator Martheya Nyaard breaks down the company’ intentions and what they have planned for Dallas Dances.

YeaJean Choi. Photo: Visionstyler Press

Dallas — Looking over the lineup for Dallas Dances, it’s exciting to see so many first-time presenters blended in with event staples such as Texas Ballet Theater, Bruce Wood Dance and Dallas Black Dance Theatre. One of these new faces is kNOwBOX dance, which was created by local choreographers YeaJean Choi and Martheya Nygaard at the beginning of 2018.

Choi and Nygaard met while earning their MFAs in dance at Texas Woman’s University in Denton. Their overlapping interest in making art that challenged contemporary and modern dance aesthetics lead them to becoming fast friends and dance peers. Choi was working as the dance department’s digital media coordinator and Nygaard as the department’s publicity coordinator when the duo starting brainstorming about what they were going to do after graduation. They came up with the question: how can artists have access to stay connected, make new work and share work globally, and from there kNOwBOX was born.

“We strive to say no to the box,” Nygaard says. “The box symbolizes the boundaries and confines that limit connections. We pursue experimental production and collaboration with other artists in order to create, discuss and advocate for art. …The vision of kNOwBOX dance is to use the digital space and alternative formats to collaborate and archive. Our social media-based Evolving Laboratories facilitate a global presence for our collaborators to make, capture and share art.”

For Dallas Dances Hyun Jung (Jenna) Change will be performing Choi’s 괴다 (The memory of love) to Donovan Jones’ song “The Memory of Love.” The piece uses Korean contemporary dance techniques to express one’s memory of love. Originally from Seoul, South Korea, Choi earned her BFA in Korean dance from the Sung Kyun Kwan University in 2012 and performed with Du-Ri Theater of Korea. Her work has been presented at World Dance Alliance-Americas in Mexico, Dallas DanceFest, Texas Dance Improvisation Festival, American College Dance Association, Seattle BOOST Dance Festival, Terrance M Johnson Dance Project, Big Rig Dance Collective and the Choreographer’s Series in Korea.

Later this year kNOwBOX dance will be co-producing, alongside the Dance Council of North Texas and the Dallas Public Library, the first Dallas Dance Film Festival. In terms of what they hope to accomplish with this new event Nygaard says, “It is our goal that this festival can support both local and international emerging and professional dance filmmakers and provide an affordable platform to share their work. This free festival also offers the community of North Texas a new way to engage with dance.”

“We hope this will be an annual festival that has the potential to grown into a weekend event with workshops, installations and guest artists.”

>This profile was originally posted on TheaterJones.com.

 

Dallas Dances: Brandi Coleman Dance

The jazz dance professor on the fundamentals of Jump Rhythm Technique and her piece, What We Do with Time, part of Dallas Dances.

Brandi Coleman Dance. Photo: Andrew Garvis

Dallas — Just like every young dancer Brandi Coleman grew up learning all the basic dance techniques, including ballet, jazz, modern and hip-hop. It wasn’t until Coleman went to the Jazz Dance World Congress in 1992 and saw Billy Siegenfeld’s choreography for the first time that she realized she wanted to focus primarily on jazz. More specifically, she wanted to learn Siegenfeld’s Jump Rhythm® Technique. So, when she heard Siegenfeld was teaching at Jacobs’ Pillow along with fellow jazz choreographer Danny Buraczeski, Coleman knew she needed to go.

“This was a pivotal point for me,” Coleman says about her time at Jacob’s Pillow. “Up to this point I have had a variety of dance training, but this experience at Jacob’s Pillow working with both Danny and Billy really solidified my innate response, love and passion for jazz dance and specifically moving rhythmically and musically.”

“Jump Rhythm Technique just felt good innately to me both in the physicality and in my heart and soul.”

Today, Coleman is an artist-in-residence in jazz dance at Southern Methodist University and is also the associate artistic director of Jump Rhythm Jazz Project (JRJP), an Emmy Award-winning performing and teaching company that celebrates the communal core of jazz performance, including dancing, singing and storytelling in rhythmically syncopated conversations. She also holds a B.A. in dance from Northeastern Illinois in Chicago and an MFA in performing arts/dance from the University of Wisconsin-Milwaukee.

To put it simply Coleman says the goal of Jump Rhythm Technique is to turn the body into a percussive instrument. “So, it’s using the musical construct of jazz music, meaning we’re trying to play syncopation and swing in the body, but we are also trying to understand what it feels like to feel rhythm in the body and to shape energy over approaching movement from how my body looks in space. We do address shape, but we address time first.”

When explaining the fundamentals of Jump Rhythm Technique to her students Coleman uses a comprehensive step by step process. “So, in Jump Rhythm Technique we first say what is the rhythm. Then we improvise to that rhythm. Then we clarify the rhythm. Then we clarify the emotional intention behind the rhythm. And then we clarify where in space we do that rhythm.”

Coleman points out that the technique also involves a lot of vocalization, which she says is hard for many dancers because the perception is usually that dancers are to be seen and not heard. So, she usually starts out by asking the dancers questions so they can hear their voices out loud and then she has them sing the Alphabet percussively and then rhythmically. From there she has them start scat singing, which audiences will get to experience firsthand at Dallas Dances this Sunday in Coleman’s What We Do With Time.

“Rhythm and emotion primarily inform the movement and the narrative of the piece,” Coleman says. “It is a quirky, humorous comment on being stressed. It’s about meeting deadlines and missing deadlines and anticipating deadlines that you know you can’t or won’t make. It’s a universal theme that I anticipate anyone and everyone can empathize with.”

This profile was originally posted on TheaterJones.com.

 

SIDEBAR:

I asked Brandi if she thought classical jazz was a dying off and she told me that this is misconception because in order grow jazz dance has had to align with pop culture, which is where new styles like jazz funk and lyrical jazz come into play. So, classical jazz isn’t dying. It is just changing as is natural with all dance forms. She uses the imagery of  branches to example these newer styles of jazz, which she said I could read about in the book “Jazz: A History of the Roots and Branches” by Lindsay Guarino and Wendy Oliver.

Like the dance history nerd I am I immediately purchased this book on Amazon and it should be here in a day or two. I am looking forward to reading and will definitely put up a post about my thoughts on the book as soon as I am done reading it. Here is a link to the book if you will she purchase it too

 

 

 

 

 

Dallas Dances: Jordan Fuchs Company

The choreographer on starting the annual Texas Dance Improvisation Festival and presenting at the Dance Council’s Dallas Dances festival.

Jordan Fuchs’ Torsion from 2017. Photo: Jordan Fuchs

Dallas — A well-known associate professor of dance at Texas Woman’s University (TWU), Jordan Fuchs has been making dances grounded in improvisational practices since the early 1990’s. At that point he was living and working in San Francisco until he moved to New York City in 1998, which he then left in 2007 to take his position with TWU. His work uses the aesthetic values of improvisation to find the instability of each performance moment, the possibility of transformation through sensation and the inherent state of moving always in relationship to another and to our environment, according to his Web site.

Throughout his career Fuchs has danced for artists, including K.J. Holmes, Kirstie Simson, Mark Dendy, Luka Kito/Megan Boyd, Rebecca Lazier, Gina Jacobs, Scott Wells, Lizz Roman, Joanne Nerenberg and Potrezebie. Fuchs is a Fulbright Specialist and has been on faculty at Hunter College and Movement Research. He has taught workshops at numerous universities and festivals across the United States and internationally. Fuchs is also a former dance specialist in the Jerome Robbins Moving Image Archive of the Dance Division of the New York Public Library.

For Dallas Dances he will be presenting a 6.5-minute excerpt from the second half of his work Torsion, which premiered in 2017 at the Jordan Fuchs Company’s spring performance at TWU’s Dance Studio Theater. Featuring dancers Michelle Beard, Whitney Geldon and Melissa Sanderson, the originally 20-minute trio explores movements centered in the pelvis and the body’s connective tissue, the fascia. The piece also includes original sound composition by Andy Russ and lighting design by Roma Flowers.

“I was intrigued at the movement possibly between the layers of skin, muscle and bone,” Fuchs says about the inspiration for the piece. “For instance, if you hold your forearm in your hand and rotate your forearm there is a lot of movement possible. I wanted to know what kind of dancing could emerge from paying attention to such subtlety.”

“When I start projects, I only define starting points.,” he adds. “I never know where they will end up and that is one of the pleasures of choreography for me. Finding where I end up.”

In addition to teaching and choreographing, Fuchs is also the founder of the annual Texas Dance Improvisation Festival, which will be celebrating its 10th anniversary this October with special guest artist Judith Sánchez Ruíz, a former dancer with both Trisha Brown and Sasha Walsh. “I wanted to create a space where improvisational dance practices and movement forms such as contact improvisation could be front and center rather than an alternative offer, particularly in moving here from New York City over a decade ago, a place where such practices were so integral to the dance making of me and many of my peers,” Fuchs says about jumpstarting the festival in Dallas.

“The mission of the annual festival has been to share, inspire and challenge the improvisational dance community in Texas through bringing in internationally renowned guest artists and creating opportunities for sharing teaching, performing and dance practices and for networking.”

 

>This Dallas Dances profile was originally posted on TheaterJones.com.

 

Preview: Princess in Training, Texas Ballet Theater’s Cinderella

Paige Nyman on becoming a princess for Texas Ballet Theater’s production of Cinderella this weekend in Dallas.

Dallas — Every young girl dreams of one day becoming a Disney princess, including Texas Ballet Theater’s Paige Nyman who will get to live out her childhood fantasy in the company’s production of Cinderella at the AT&T Performing Arts Center’s Winspear Opera House Aug. 24-26. “I have always related most to Belle and Cinderella,” says Nyman, who is celebrating her 10th season with TBT. “I relate to Belle because I love reading books too, and I have always admired Cinderella’s resiliency and her ability to find hope and make the best in every situation.”

Paige Nyman of TBT. Photo: Steven Visneau

Nyman started dancing at the age of 3 in her hometown of Kansas City. At 16, she received a scholarship to the Harid Conservatory where she trained under Svetlana Osiyeva, Oliver Pardina and Victoria Schneider. Nyman joined TBT in 2009 and since then has performed roles in Ben Stevenson’s DraculaSleeping BeautyPeer GyntRomeo and JulietCinderella and Four Last Songs, among others. She has also performed in George Balanchine’s Allegro Brilliante, Glen Tetley’s Voluntaries, Jiri Kylian’s Petite Mort, Harold Lander’s Etudes and the title role in Carlos Acosta’s Carmen.

This production marks Nyman’s first time performing a lead role in one of Stevenson’s acclaimed story ballets, an incredible opportunity Nyman says she is more excited than nervous about. “This is such a fun legacy to be a part of and I am enjoying finding who I am in the character. Cinderella has this wonderful innate sense of hope, joy and happiness, but also experiences deep hurt and sadness and it has been a fun challenge to learn how to internalize everything.”

In rehearsals the dancers work equal parts on technique and acting, which Nyman says is really what separates Stevenson’s story ballet from other ballet companies. “He just understands what audiences want to see and what we, the dancers, want to do. He is always finding new ways to keep the story ballets fresh.”

These story ballets are just one of many aspects Nyman enjoys about being a part of TBT. “This is one of the most welcoming places I have ever encountered. From the start I was afforded the chance to work closely with the other company members and choreographers and it has been a wonderful journey for me these past 10 seasons.” She adds, “Ben continues to stretch our boundaries while also staying grounded in his story ballets and I just feel at home here.”

Nyman admits that the road to becoming Cinderella isn’t all tutus and tiaras. “Dancing with inanimate object like a broom can be hard. It doesn’t reason with you,” she jokes.

Nyman is referring to the kitchen scene where she is imagining she is at the ball dancing with a handsome prince when in reality she is covered in filth dancing with a broom. This dance segment led to one of Nyman biggest questions about the process, which was how to keep the role authentic through these quick emotional changes. She explains, “I wanted to know how to create a natural transition from the high of imagining I am at the ball to suddenly realizing I am at home dancing with a broom.”

Nyman has also had to shift her mindset from being one of many dancers in the corps to taking center stage. “There’s this wonderful sense of camaraderie in the corps because we all have the same goal, which is to be the picture frame for the lead dancers. But when you transition into doing a lead role you have to step outside that mindset of amenity. You have to face the fact that the goal is that everyone is looking at you, and maintaining that level of engagement is a beautiful responsibility.”

And like all dancers Nyman has a ritual she does before every performance that might sound kooky to some, but continues to work in her favor. “In the dressing room I have to put my left eyelash on first, my left earring and my right pointe. That is my secret recipe.”

 

The Texas Ballet Theater season also features:

  • Ben Stevenson’s Cleopatra (accompanied by Fort Worth Symphony Orchestra) at Bass Performance Hall: Sept. 28-30, 2018
  • Ben Stevenson’s The Nutcracker at Winspear Opera House, Nov. 23-25 and Nov. 30-Dec. 2, before transitioning to Bass Performance Hall Dec. 7-9; Dec. 13; Dec. 15-16; Dec. 20-24. The Nutty Nutcracker, an unconventional take on the holiday classic, will be at Bass Performance Hall Dec. 14.
  • The first mixed repertoire, March 1-3, 2019, at Bass Performance Hall features the work of two renowned choreographers, William Forsythe and Christopher Bruce in In the Middle, Somewhat Elevated and Ghost Dances, respectively. TBT dancer Andre Silva will share his contemporary choreography in a world premiere called 11:11.
  • A collection of works by TBT Artistic Director, Ben Stevenson, O.B.E., is on the bill for the second mixed repertoire and includes Four Last SongsTwilightEsmerelda (pas de deux only) and L. The pieces will be performed at Bass Performance Hall March 29-31, 2019.

>This preview was originally posted on TheaterJones.com.

 

Q&A: Camille A. Brown

This weekend, the award-winning dance and theater choreographer Camille A. Brown opens the TITAS Presents season with BLACK GIRL: Linguistic Play.

camilleabrown
BLACK GIRL: Linguistic Play. Photo: Christopher Duggan

Dallas — 2018 has been quite a year for Camille A. Brown whose powerful combination of storytelling and modern, African and hip-hop movements has been capturing audiences from every angle, including concert dance, on and off-Broadway, and television. Most recently, her work has been seen on NBC with the Emmy-nominated special, Jesus Christ Superstar LIVE, and also on Broadway with the 2018 Tony award-winning production, Once On This Island. Her other theater credits include A Streetcar Named DesireCabin in the Sky, Jonathan Larson’s tick, tick…BOOM and Dallas Theater Center’s world premiere productions of Stagger LeeFortress of Solitude, and Bella: An American Tall Tale.

The dancing It Girl is also a four-time Princess Grace Award winner, TED Fellow, Ford Foundation Art of Change Fellow, Jacob’s Pillow Dance Award winner, Guggenheim Fellowship recipient and Audelco Award winner. Her work has been commissioned by the Alvin Ailey American Dance Theater, Complexions, Ailey II, Philandanco!, Urban Bush Women, Ballet Memphis, and Hubbard Street II, among others.

With all these creative accolades it’s no surprise to learn that Brown has been choreographing since childhood when she would make up dances to cartoon shows. A lot of her movement is influenced by the social dances of her childhood, including hip-hop, African and step dance. She was also versed in salsa dancing and musical theatre thanks to her parent’s love of musicals and Latin social dances. Add in her point of view as a strong black female from Queens and you have the foundation of BLACK GIRL: Linguistic Play (2015); the second part of a trilogy that her troupe Camille A. Brown & Dancers will be performing as part of TITAS Presents in Dallas Aug. 24-25.

TheaterJones caught up with the busy dancemaker to talk about her current success, working on Once On This Island, finding her artistic voice and what Dallas audiences can expect to see from her dancers this weekend.

TheaterJones: Most young dancers dream of becoming performers, and yet you knew you wanted to choreograph from a very young age. Dancers don’t usually come across composition classes till they reach high school age, so how did you foster your interest in creating movement growing up?

Camille A. Brown: I have always been a quiet child. My voice was small, so I got teased a lot, and it made me more self-conscious about speaking. I watched Michael Jackson and Janet Jackson videos as well as musicals (which my mom introduced me to). I would spend hours learning all the routines from videos and musical numbers. I also created movement to the opening credits of cartoons I watched. Family gatherings were opportunities to put on a show with friends and cousins. My family would support our efforts and was always a great audience.

How has your upbringing in Queens influenced your artistic choices throughout your career?

One of the first works I did was about rush hour in New York City and what happens when everyone is waiting for a delayed train. I took all of my experiences riding the subway since 13 to create six minutes of material. The work was eventually commissioned by Alvin Ailey American Dance Theater. My most recent work is also pulling from my experiences growing up in the city. Some of it is inspired by my neighborhood. A couple in Queens walking down the street with their isms bold and bright. The guys that play basketball outside. The hand gestures (dab) they do greeting each other.

In BLACK GIRL: Linguistic Play, there are moments that are inspired by relationships with my mother, grandmother, and cousin. Q85, Farmers Blvd., Guy R. Brewer, Foch Blvd, E/F train (last stop), Green Acres Mall, Rochdale Village, grandma and granddaddy’s house. We carry our stories with us and they never let us go. 

Looking back, would you still have chosen to go to college before starting your professional dance career?

Absolutely! I wasn’t ready to be a professional dancer after I graduated high school, and still wanted to learn more as a student.

How did you get involved with Once On This Island? What research did you do leading up to teaching the choreography for the show?

I had never seen OOTI, but was very intrigued by the story. I knew it was a very popular musical, which made me nervous! It’s hard stepping in as a choreographer creating material for a show that’s been done thousands of times. I got a little bit in my head about it. I knew my role as a part of the creative team was extremely important. I wanted to honor the culture of Haiti and the Caribbean islands, but also honor my choreographic voice.

People ask me what the inspiration behind the movement for the show was. Culture always tells you where to go. The challenge was to create a language that combines culture, my voice and the actor’s creative identities. I connected with an Afro-Haitian/Afro- Cuban consultant, Maxine Montilus. We had four sessions together. I told her that these sessions were not so I could implant these specific steps into the show. It was about me knowing the origins of steps so they could help to inform my choreographic choices.

The other challenge for me was the production was staged in the round and I had never choreographed anything in the round before. I was creating my latest work, ink, at the same time so I used that creative process as an opportunity to practice. It’s interesting how many projects can support one goal. I’m grateful for it all.

How have your experiences working on Broadway and TV impacted the way you think about movement for your company dancers?

I have always been interested in telling stories, but working in theater with collaborators and putting an entire show together that has music, acting, dance, set design, sound design, costume design and orchestrations has made me a better storyteller and communicator. The information that I absorbed working in theater has helped me to create my movement language and given me the tools to communicate what I want to my dancers and musicians.

Can you please talk to me about the building of BLACK GIRL: Linguistic Play? Is it mainly autobiographical? Is it one complete story or broken up by experiences?

BLACK GIRL: Linguistic Play is the second piece of the trilogy and it reveals the complexity of carving out a self-defined identity as a black female in urban American culture. In a society where black women are often only portrayed in terms of their strength, resiliency, or trauma, this work seeks to interrogate these narratives by representing a nuanced spectrum of black womanhood in a racially and politically charged world.

Kyra Gaunt’s book, The Games That Black Girls Play, talks about the contributions of black girls to hip hop through childhood games. If we look at the mechanics of the hand clap game “numbers”, it’s highly intelligent, mathematical and musical. Social dance grounds a time and place. The body has so many stories to tell and we can see them through social dance. We can also see people’s creative identities.

There is artistry in childhood games and social dance.

I am bringing all my stories, my personal experiences of being a woman and of being black into the work. BG:LP is about my childhood. It has glimpses of the relationship I have with my sister-friends, cousin and mother.

At what point did you know you wanted to make this part of a trilogy?

After creating Mr. TOL E. RAncE, my headspace was still in the world of black identity. My mentor and dramaturge, Talvin Wilks, encouraged me to go with the flow. Three evening length pieces later!

Where do you want to go from here?

I want to stay focused, clear and keep growing. It is my goal to continue creating works for my company, become a director/choreographer for musical theater and do more TV and film. Debbie Allen is a huge inspiration. She does it all. Her body of work makes me believe that all things are possible.

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