Category Archives: People and Places

Preview: Avant Chamber Ballet’s The Little Match Girl Passion

Match Pointe

Emily Dixon Alba of Avant Chamber Ballet on dancing to live vocalists in The Little Match Girl Passion, featuring Verdigris Ensemble at Moody Performance Hall.

Emily Dixon Alba in The Little Match Girl Passion. Photo: Will Graham

Dallas — As one of the hardest working female choreographers in Dallas, Katie Cooper is always looking for new ways to elevate the local ballet bar and increase exposure of the 300-year-old art form. She did it when she started her company, Avant Chamber Ballet, with the goal of bringing ballet and live music back together; when she created the area’s first Women’s Choreography Project; and now she is doing it again with the addition of live vocals courtesy of Dallas-based Verdigris Ensemble at ACB’s showing of The Little Match Girl Passion Dec. 7-8 at Moody Performance Hall.

The dancers of ACB and the singers of Verdigris Ensemble will be bringing to life David Lang’s choral setting based on Hans Christian Anderson’s story, “The Little Match Girl.”

The collaboration marks a new challenge for Cooper who is known for breaking boundaries when it comes to classical ballet traditions. “Creating dance to almost acapella voice is a much different process than what I have done in the past,” Cooper says. “It has breath to it in a very literal way, plus David Lang’s score is quite modern and tells the story in a very different way than if I had picked more traditional dance music for the choreography.”

The task has also proved challenging for some of the dancers such as Emily Dixon Alba who told me during our phone conversation earlier this week that the Verdigris Ensemble recording they were using in rehearsals sounded a lot like Charlie Brown’s teacher at first. “But then the more I listened to the recording the more words I heard.” Alba notes that the lyrics will be printed in the program for the audience to follow along.

Alba also points out that the movement in The Little Match Girl Passion isn’t what you’d typically expect from ACB. “It’s abstract in terms of dancing, but it’s literal in terms of all of us dancers are flushing out the story around Julianne McAloon who is playing the main character. So, we’re all in black and we’re all becoming the words that are being said. For example, in one part we are walking across the stage really fast and we are supposed to resemble the street cars that she’s trying to dodge around.”

A native Texan, Alba trained at the Ballet Academy of Texas under the direction of Lisa Slagle before joining Tulsa Ballet II after graduating from high school. In 2009, Alba was accepted into the corps de ballet with The Sarasota Ballet. During her five seasons with the company Alba had the opportunity to perform a wide variety of repertoire, including works by Sir Frederick Ashton, George Balanchine, Matthew Bourne, Dominic Walsh, Peter Darrell, Agnes De Mille, Johan Kobborg, to name a few.

Alba was with Colorado Ballet while also guesting with ACB till her move to Dallas in 2017 to dance full time with ACB in addition to settling down with her husband and being closer to family and friends. Alba says making the decision was terrifying as she had spent the last 10 years with union companies where she had no fear about salary or health insurance. But Alba says Cooper wooed her with the repertoire she had planned, which included works by Balanchine and Christopher Wheeldon.

“I remember looking at ACB’s season and then looking at Colorado Ballet’s season coming up that year and it was a no brainer as to where I wanted to dance,” Alba says. “Looking at ACB’s season and what they were bringing in I wanted to see what my full potential was and be pushed to do that, and I knew this repertoire would do it.”

She adds, “Just in this one year I feel like I have grown and the company has grown. I feel like we have been pushed in ways you may not pushed in a company that has 30 or 40 people in it.”

One of Alba’s brightest moments with the company so far was when she was asked to perform one of the principal roles in Balanchine’s Who Cares? at ACB and Dark Circles Contemporary Dance’s joint performance in the spring of 2016. Alba says she still gets emotional every time she performs the role because there was a time in her career where she didn’t think she was capable of dancing a principal role. “I had reached a place where I thought I was a great demi soloist and soloist, but I cut myself from ever being able to do the bigger roles. So, when Katie asked me to come in and guest in Who Cares? I was half terrified because I had already told myself I was below that principal role, but then I was also excited to get a chance to tackle it.”

Alba continues, “And so that was such a victory for me not so much physically, but mentally and emotionally pulling through Who Cares? because it was one of those moments where you realize WOW there is more in me then I thought there was and that gave me a lot of confidence to come back the next year.”

Alba also links her increase of self-confidence to her time spent with local Balanchine Repetiteur Michele Gifford during rehearsals for Who Cares? “For the past two to three years Michele has been one of my dearest mentors on and off the stage. I can talk to her about anything. She helped me navigate my move back and just getting to work one on one with her through all of the Wheeldon and Balanchine works has been amazing.”

I couldn’t end the interview without asking Alba how she feels about portraying such a sad story right around the holidays. “Well, at first I was confused about why we were doing such a sad story, but I read a recent interview of Katie and it brought to light again that Katie is always reaching beyond what’s normal and I think there is an audience that actually connects to grief in the holidays.”

She adds, “The holidays can also evoke a different side of emotions. It is not wrong to feel grief or loss and that is not a bad thing. That is being human. And so I think Katie is going to connect with a side of the audience that is very real and very human through this experience.”

You can see Emily Dixon Alba in The Little Match Girl Passion at the Moody Performance Hall this weekend. The evening also includes The Nutcracker Suite choreographed by Katie Cooper and Paul Mejia with live music by Cezanne Quartet.

>This preview was originally posted on TheaterJones.com.

 

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Preview: Bruce Wood Dance’s All Bruce Performance

Shades of Bruce

Bruce Wood Dance celebrates the many sides of the trailblazer in its fall performance, All Bruce, at Moody Performance Hall this weekend.

Bruce Wood Dance in Local 126. Photo: Sharen Bradford/The Dancing Image

Dallas — It has been four years since his death, but Bruce Wood’s philosophy that “It is about the work” continues to drive Bruce Wood Dance (BWD) forward, which is apparent by the title of the company’s upcoming performance, All Bruce, Nov. 17-18 at Moody Performance Hall. The program features four memorable Wood works, including Echoes of Enchantment (1999), Bolero (2001), Local 126 (2001) and The Edge of My Life So Far (2010), featuring Nycole Ray of Dallas Black Dance Theatre.

The performance also marks a first for Joy Atkins Bollinger in her new role as BWD’s artistic director and is really a reunion of sorts for those of us who were in the audience at the Montgomery Arts Center for Wood’s triumphant return to the Dallas dance scene in June 2011. Viewers were in awe of the talent of company veterans Kimi Nikaidoh, Harry Feril and Albert Drake who would later band together to help keep Wood’s memory and movement aesthetic alive after the choreographers untimely passing in 2014. Today, most of the company veterans have moved on and a new batch of talent is now working to maintain Wood’s legacy.

I got the chance to sit down with Bollinger a couple of weeks ago at the Bruce Wood Dance Gallery and talk to her about how she is adjusting to her new role and how the newer dancers are acclimating to company culture.

“I was a little concerned when I saw how many new company members we have this season,” Bollinger says. “I just knew we had so many changes ahead of us with our infrastructure and our staff and then losing some of our veteran dancers, but I have to say I have been pleasantly surprised by the intelligent, hardworking and earnest nature of these dancers.”

She adds, “We’re to the point now where almost the entire company is working toward this man’s legacy who they have never meet and it’s just their understanding of what was important to him and how that affected others that draws them in.”

The new company members include Lauren Hibbard, Lauren Perry, Chad Vaught, Seth York and apprentice Arden Leone. They will be dancing alongside Adrian Aguirre, Jillyn Bryant, Olivia Rehrman, Gabriel Speiller and Megan Storey. Emily Drake, the most senior company member, will only dance in Bolero for this performance.

So, the responsibility of articulating Wood’s movement really falls on Bollinger’s shoulders. An incredibly daunting task, as anyone who had seen Wood in the studio can tell you. “Bruce had this uncanny way of not speaking,” Bollinger says. “And the feeling in the room or the feeling coming off him was enough for the dancers to understand where he was headed with choreography. And then when you weren’t sure about that from him you could turn to the veteran dancers that had worked with him for many years and ask them for help.”

Watching Bollinger give notes to the dancers after they ran through Local 126 it’s obvious she has a gift for words when it comes to telling the dancers what she needs from then. “A more crisp arrival,” “sharpen your focus” and “brighter energy through the legs” were a few of the corrections Bollinger gave as well as the ever present “have fun.”

But what Bollinger says she spent the most time discussing with the dancers was Wood’s emphasis on the group dynamics within his works. “The one thing I was focused on for this performance was the importance he placed on the group. If you look at Local 126 there is no partnering in the entire thing. Bruce would say he could choreograph to Bach in his sleep pretty easily so he wanted to challenge himself by doing no partnering for this entire piece.”

Bollinger adds, “The dancers needed to understand that you don’t get the lift and fly relationship. They’re going to have a different feeling of their bodies working in unison and as one and in sculpture and line and the architecture of the piece is going to have to create that. That’s been something we talked about a lot for this show because we’re going to need that in every dance, especially in Bolero.”

Before starting Bolero Bollinger says she and Nikaidoh sat down and talked through their memories of the dance and what they remembered Wood expressing so clearly. And through this conversation they were able to reconnect with the feeling and the finer details of the work. “It’s hard because in this day and age, when the second generation perceives something as sensual they automatically think it’s a celebration of sexuality, but it’s not. Bolero is very dark, almost that to the detriment of every person on stage.”

She explains, “At the same time as these women are wielding the power over the men and manipulating each other it’s also building toward a chaos. Everyone is walking in these courtship manners and the women are wearing ball gowns and the men are in tuxes, yet in complete irony the dancing women are in lingerie.”

Bollinger adds, “There’s so many layers here as to what is happening and at the start of this piece Bruce told us, ‘You know, this isn’t the party. This is 3 a.m. and the party has already happened’.”

Come experience Bolero and other Wood works at Bruce Wood Dance’s All Bruce performance at Moody Performance Hall this weekend.

>This preview was originally posted on TheaterJones.com.

 

Preview: Dallas Black Dance Theatre’s 2018 Director’s Choice Series

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DBDT rehearsing Joy Bollinger’s This Time. Photo: Melissa Young

Dallas Black Dance Theatre explores the fleeting nature of time and memories in Joy Bollinger’s new work, This Time, part of the company’s Director’s Choice Series at the Wyly Theatre.

Dallas — It has been a fall to remember for Joy Bollinger who not only will be presenting her first program as artist director of Bruce Wood Dance (BWD) this month, but also showcasing her first commissioned piece at Dallas Black Dance Theatre’s (DBDT) Director’s Choice Series, Nov. 2-4, at the Dee and Charles Wyly Theatre in the Dallas Arts District. Bollinger’s new work, This Time, will be performed alongside works by Tommie-Waheed Evans, Lily Cabatu Weiss and Elisa Monte and David Brown.

“I have choreographed on BWD. I was asked to choreograph a piece on my alma mater Texas Christian University,” Bollinger says. “But this was the first time an outside professional dance company has asked me to choreography on them and that was just an exciting milestone.”

She adds, “I love being a choreographer and I hope in the future I can continue down that path in whatever way. I am just really thankful for this opportunity to work with DBDT.”

Bollinger was contacted over the summer by DBDT’s newly-appointed artistic director Melissa Young about setting a piece for the company’s Director’s Choice performance at the beginning of November. Young says she was blown away when she saw BWD perform Bollinger’s Carved in Stone in 2016, and began to wonder how her movement language would translate onto DBDT’s dancers.

“Since we are a repertory company, in my opinion our dancers do an amazing job of morphing into every style put before them,” Young says. “We didn’t have any works in our repertoire with Joy’s distinct movement language and overall tone. I knew whatever she chose to create would be a perfect fit. So, by adding This Time into our programming, our audiences will get to know Joy and her beautiful work as we travel across the country as well as get acquainted with another facet of how DBDT dancers move.”

Young adds, “The best part of this collaboration was the ease of how everything came together. From start to finish, I would consider it all Joy.”

Young and Bollinger’s history actually goes back almost 15 years when they danced alongside each other as part of a Bruce Wood Dance Company and DBDT collaboration in 2003. “There’s something about her calm energy that has always drawn me in. I really admired Joy as a person and her artistic abilities. The special care and attention to detail that she puts into her own dancing resonated with me over the years.”

If you have seen Bollinger’s previous works, Carved in Stone and Hillside, then you have probably noticed her penchant for large scale visuals, dynamic groups sections and musically-driven movement phrases. As we sat talking at the Bruce Wood Dance Gallery last Friday Bollinger notes that this piece for DBDT is very different from anything she has done before.

“For this piece I am using a much smaller group, only seven dancers, and since they will be performing in a smaller space I kept the architecture of the dance pretty simple. She jokes, “Plus, I don’t think we have any storage space left [at BWD’s studio] for another one of my props.”

What didn’t change this time around is Bollinger’s need to find music before jumping into the choreography. Bollinger already had a piece of music on her mind going into the process, but due to its length, she had to do a quick pivot and find something else, which she admits was a little challenging. “Finding music is crucial for me because I like to choreograph musically. So when I realized the first idea wasn’t going to work I was like “okay” what do I do now, but I just had to go with it.”

She laughingly adds, “I now realize I have a love affair with Olafur Arnalds because I start searching for music and when I realize I like something guess who it is. So, the three tracks I picked were done in collaboration with someone else and there is the sound of water in the music but also violence and sweeping and piano. You know, music you want to move too.”

This Time was inspired by Bollinger’s relationships with her children and grandmother and how over time these images become fractured and blurry, thus increasing our desire to hang on to these precious memories. To help the dancers find more personal meaning within the work Bollinger says, “I tell them what it means to me and then I say that’s not what it has to mean to you, but I want you to find what in your life connects and resonates with what that means to you.”

The most challenging part of the process for the dancers was learning a new movement vocabulary, Bollinger says. Audiences are very familiar with Bruce Wood’s unique aesthetic which features a strong balletic core so the dancers can effortless execute his off-axis turns, quick changing body positions and pendulum-like arm and leg movements.

“There were definitely a few things in the vocabulary that were new to them and probably countered how they often do things such as running low and in the floor and also the group aesthetic within the work. They are such dynamic performers, and I know every one of them has the capability to be a fantastic soloist, so they now have to keep that but also feel the group.”

You can see Dallas Black Dance Theatre in Joy Bollinger’s This Time at the company’s Director’s Choice Series at the Wyly Theatre this weekend.

>This preview was originally posted on TheaterJones.com.

 

Beckles Dancing Company Announces Sweatt Dallas Dance Festival 2018

Kaleb and Lacy in Duettino April 2018
Beckles Dancing Company members Kaleb Smith and Layla Brent in Duettino. Photo: Supreme Dream Photography 

Mark your calendars! The 2018 [Mary Lois] Sweatt Dallas Dance Festival (SDDF) will take place Oct. 12-13 at Ann Richards STEAM Academy in Dallas.

Entitled Back Together AgainSDDF will feature a performance on Friday evening and master classes on Saturday with the Melissa M. Young, the newly appointed artistic director of Dallas Black Dance Theatre.

The whole week will include master classes at two public schools, plus an open master class, a roundtable discussion and performances. The performances will include several companies, groups and soloists, including Jordan Willis, currently at Point Park University and the 2018 recipient of the South Dallas Dance Festival scholarship.

The goal of SDDF is to encourage collaborations between area artists and companies and to support each other’s growth and impact on the local community.

General admission: $15 for adults and $10 for students, seniors, members of Dance Council of North Texas and the Star System.

Master Class: $5.00 participants, $15.00 general

More information about the festival is available at www.becklesdancingcompany.org/events

 

Preview: Dark Circles Contemporary Dance’s Aladdin, Habibi

MAGIC MOVES

Dark Circles Contemporary Dance takes us to a whole new world in Joshua L. Peugh’s Aladdin, Habibi, part of AT&T Performing Arts Center’s Elevator Project.

DCCD Company Member Chadi El-Khoury. Photo: Brian Guilliaux

Dallas — Over the last seven years Dark Circles Contemporary Dance’s Artistic Director Joshua L. Peugh has wowed us again and again with his insightful and unique perspective on the human condition as well as today’s social norms. He transfers this information to his dancers using a combo of classical and modern movements infused with his own special blend of grounded footwork, knee-bruising floor work and happenstance partnering. His aesthetic demands that the dancers be comfortable in their own skin, yet open and vulnerable on stage.

Peugh is asking this and much more from the company in his first evening-length creation, Aladdin, حبيبي, part of the AT&T Performing Arts Center’s Elevator Project, Oct. 11-14, at the Wyly Theatre. The immersive 75-minute production focuses on American rhetoric regarding the Middle East and the stereotypes associated with Middle Eastern races and cultures. The work is based on the folk tale of “The Story of Aladdin” or “The Wonderful Lamp,” first written in The Book of One Thousand and One Nights (or The Arabian Nights).

Peugh says this process all began while browsing through a book store one Sunday morning. “I found a copy of Arabian Nights and the first line in the book is once upon a time in China. See when most people think of Aladdin they think of the 1992 Disney movie, but Aladdin was actually Chinese and the story was added later on by Frenchman Antoine Galland.”

He continues, “This was one aspect of the work. The other being company member Chadi El-khoury’s personal story, which includes his mom bringing him and his brother to America when he was 11 years old. We go to his Mom’s house every Sunday and she always calls her children Habibi, an Arabic endearment like ‘sweetheart,’ and it’s why the title of the work is called Aladdin, Habibi. We put the term in Arabic to signal to these people that their voice is being represented here.”

Peugh also points out that the work will feature a new score from Southern Methodist University’s Meadows School of the Arts alumnus Brandon Carson and will be performed live by a six-piece band. The production also includes costumes designed by Susan Austin and lighting by Bart McGeehon.

“I honestly didn’t know what the music was going to look like until I got started with the dancers, but we needed music before rehearsals began and so I ended up sending Brandon a list of plot points and asked him to make them musical numbers. We started off with 20 minutes of music and have gone back and forth a lot until we got to today’s product.”

In the work the dancers also double as stage hands, which was evident during the run through I saw at Preston Center Dance in Dallas last Wednesday morning. When not executing movement in the center, the dancers are constructing a tent out of canes and fabric, playing a game of cards and actively observing their surroundings, just to give a few examples.

Peugh explains, “We played a lot of theater games and one of them was about making yourself very present and aware and basing everything you do on things outside your circle so you are inviting things to happen instead of making them happen, which is already the principles that I run the company on in the first place, but we are now expanding that in different directions.”

The example he gives is in regard to the architecture of the room. Because this show follows a narrative, Peugh had his dancers do a lot of exercises that had to do with using what is there in the space. “Everything you see in the show is stuff that was laying around the studio. So, everything is sort of a found object and not a created one and that mirrors the world we are trying to create in this dance.”

There were a lot of moving parts just within the first 20 minutes that I got to see of the show, so I will try to break it down for you without giving too much away. Company veteran El-khoury portrays the role of Aladdin and we get to witness his inner struggle of questioning certain rules and customs of the culture that he was born into and then coming to America and trying to fit in here. El-khoury’s journey of discovery involves two genies: the genie of the ring played by Jaiquan Laurencin and the genie of the lamp played by Lena Oren.

El-khoury moves with laser focus and incredible control during rehearsal. Deep lunges, swirling arms and rhythmic hip isolations are at the crux of most of his individual movement phrases. Over the last two years he has put on some noticeable bulk and his technical execution and artistic depth continues to flourish with every new piece the company puts out.

“He works really hard to make this happen,” Peugh says about El-khoury’s artistic growth. “He still works a full time corporate job and he works really hard to dance the way he wants. He has grown incredibly in the last several years. He’s fighting for it and he really loves dancing and it give him pleasure so that’s ultimately where it all starts from in the first place.”

Peugh admits that the creative process for this show has been a completely new experience for him. He doesn’t like to give his dancers too many details because he likes to see how the dancers take the material and make it their own. So, sitting down with the dancers after every rehearsal to talk about the narrative is really a foreign concept for him. Peugh says on the second day of rehearsals he asked the dancers to bring in a list or make a presentation to the group about the question ‘What is Middle Eastern?’ and from there he had the dancers take their lists and make a movement phrase based off one plotline in the story, and that is how the choreography for the show came to fruition.

“It was a really organic process,” Peugh says. “This has been one of the most fun, creative processes I have ever had. I have learned a ton and I am super proud of the work everyone has done. Everyone has put in a lot more than a few hours of learning steps.”

>This preview was originally posted on TheaterJones.com.

 

Dallas Black Dance Theatre Announces New Artistic Director and Much More!

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Melissa Young is the new artistic director of DBDT. Photo: Brian Guilliaux

Lot’s of great news has been coming out of the Dallas Black Dance Theatre (DBDT) organization the last couple of weeks, including today’s announcement that Melissa Young will be taking over as artistic director.

Young has been with the company for 25 years and has experience in all facets of the organization. We meet while on the board of directors for the Dance Council about 10 years ago and her commencement and passion for dance and DBDT was as strong then as it is now. She is patient. She is kind. But she also knows when to lay down the law. As they say, third times the charm, so I wish Young good luck in new position!

DBDT also announced last week that it has been selected to receive funding through the Communities Connecting Heritage (CCH) exchange program for its new cultural heritage project with Macedonian filmmakers. Only five artistic organizations in the nation where chosen to participate in this cultural exchange program.

Entitled Widening the Lens, DBDT and Association MakeDox from Macedonia will work together with 12 African-American dancers and 12 Macedonian filmmakers to create a 50-minute documentary exploring and celebrating African-American culture through dance and Romani heritages music. DBDT will incorporate aspects of the project into its Spring Celebration Series in addition to holding three free screenings of the film in July.

What a unique experience for these dancers. Not only do they get to travel around the world exploring different dance cultures, but they will also get to see how a dance documentary is put together from start to finish.

bollinger_joy

And right behind this announcement came the news that DBDT has invited Joy Bollinger, the newly appointed Artistic Director of Bruce Wood Dance, to set a piece for the company’s annual Director’s Choice performance coming up in November.

According the media release, Bollinger’s new work, This Time, is a reflection of the fleeting nature of the time in her relationships with her children and grandmother and the constant desire to steal moments and capture memories. If its anything like her previous works then audiences are in for large scale visuals, dynamic group sections and a roller coaster of emotions.

(Photo credit: Brian Guilliaux)

 

 

 

 

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!

 

 

 

 

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.

 

 

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.