Out of the eight arts groups and performers selected to participate in the Elevator Project’s 2018-19 season two of them are well known dance troupes!
Dark Circles Contemporary Dance (DCCD) continues to reshape how we view contemporary dance with its Gaga-inspired movement choices and relevant narratives based on Artistic Director Joshua L. Peugh’s life experiences and his limitless imagination. DCCD will present Aladdin, حبيبي at the Dee and Charles Wyly Theatre Oct. 11-14. The new evening-length work is a meditation on American rhetoric regarding the Middle East and the stereotypes associated with Middle Eastern races and cultures, according to DCCD.
A new score for the work has been commissioned from composer and Southern Methodist University Meadows School of the Arts alumnus Brandon Carson and will be performed live by a five-piece band on a mixture of Arabic, African and western instruments. The production will feature lighting and scenic designs by Bart McGeehon. Susan Austin will provide the costume design.
On the other side of the dance spectrum is Indique Dance Company, a classical Indian performance company that was started in 2008 by Sarita Venkatraman, Shalini Varghese, Latha Shrivasta, Anu Sury, Kruti Patel, Bhuvana Venkatraman and Shilpi Mehta. The group’s goal has been to reach a broader, more diverse audience by blending modern, relevant themes with the story-telling artistry of Indian classical dance styles. They will be doing just with its newest production, SvaBhava,at the AT&T Performing Arts Center’s Hamon Hall Dec. 6-8.
SvaBhava is the intrinsic, essential nature of living beings. The post goes on to say human beings have the extraordinary ability and privilege to create meaning in their lives, but how do we give our lives meaning? Many cultures from around the world have aspired to rid the mind, body, and spirit of selfishness, pride, and dishonesty exemplified in the way we treat others. This Bharatanatyam dance production is based on these ideals and how it affects our daily life.
Congrats to these two dance troupes! Can’t wait to see their shows!
Avant Chamber Ballet’s 2018-19 season includes a new family program and new collaborations with local musicians and singers as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.
Dallas – What I admire most about Katie Cooper is her tenacity when it comes to the business end of running a ballet company. It is very easy for artistic directors to get lost in their own heads and lose touch with what is happening right in their own dance communities. But that has never been the case for Cooper. Her eyes have remained opened to the Dallas dance scene and the global ballet industry. Her company continues to thrive because of her industry know how and fresh ideologies when it comes choreographing and presenting ballet works. She is definitely someone that future choreographers and directors in the area should get to know.
For its 2018-19 season Avant Chamber Ballet (ACB) will be presenting David Lang’s the little match girl passion, Christopher Wheeldon’s Morphoses and world premieres by Cooper and by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission. And this is just the tip of the iceberg! The company will also be performing more works by George Balanchine and Paul Mejia.
The music for the season includes Vivaldi, Ragtime, George Gershwin, Astor Piazzolla local composer Quinn Mason and a collaboration with singers from the Dallas-based Verdigris Ensemble. And just like all of its performances ACB will be dancing to live accompaniment.
You better start marking your calendars now. You don’t want to miss any of these shows!
A copy of the official press release can be found below:
Avant Chamber Ballet’s artistic director Katie Cooper and music director David Cooper announce the company’s 2018-2019 season, featuring three subscription productions at Moody Performance Hall in the Dallas Arts District and the launch of the new Family Saturdays series. The season includes world premieres by Katie Cooper and Women’s Choreography Project, as well as works by Paul Mejia, Christopher Wheeldon and George Balanchine.
“Our seventh season is our biggest yet with five new works, collaborations, and touring,” says Katie Cooper. “We are also excited about starting the Family Saturdays program, which will expose new audiences to the joy of live music and dance.”
The subscription season opens with David Lang’s the little match girl passion, a collaboration with the Dallas-based Verdigris Ensemble. Together on stage, the dancers of Avant Chamber Ballet and the singers of Verdigris Ensemble will bring to life Lang’s Pulitzer Prize-winning setting of the famous Hans Christian Andersen story. This will be the first time a contemporary choral work will be staged with ballet in Dallas.
In February, Avant Chamber Ballet returns to Moody Performance Hall with Romance and Ragtime. The performances will encompass four ballets with live music: a company premiere of Christopher Wheeldon’s Morphoses, a world premiere by the soon-to-be-announced winner of the 2018 Women’s Choreography Project commission, and world premieres of Katie Cooper’s The Seasons with music by Vivaldi and Ragtime with music by Scott Joplin.
Closing the season will be Fascinating Rhythms – an exciting evening of dance and live music by George Gershwin, Astor Piazzolla, and local composer Quinn Mason. Returning to the repertoire will be George Balanchine’s Who Cares? – an audience favorite that perfectly pairs Gershwin’s toe-tapping melodies with Balanchine’s genius choreography. Paul Mejia’s Cafe Victoria, a company premiere, features Piazzolla’s alluring Contrabajissimo. The program closes with a collaboration between choreographer Katie Cooper and Dallas-based composer Quinn Mason. The performance will mark the world premiere of both Cooper’s choreography and of Mason’s String Quartet No. 2.
Family Saturdays is a subscription series for young audiences to experience live music and dance in an engaging and family-friendly environment. Each Family Saturdays performance will be one hour long and will feature the professional dancers of Avant Chamber Ballet accompanied by live music. The series will be held at 2:30 pm on December 8, February 23, and May 4 at Moody Performance Hall, and will offer area families a perfect introduction to the performing arts.
Bombshell Dance Project gets ready to showcase three new works, including program headliner Like A Girl at Moody Performance Hall today!
Dallas — The inspiration for Like A Girl, one of two new works by Bombshell Dance Project’s Emily Bernet and Taylor Rodman, focuses on what it means to do something like a girl.
“We started out with the phrase “fight like a girl,” but then it expanded to doing anything like a girl and what does that mean especially now that there is such a boom in strong women,” Bernet says. “It’s not to say no progress has been made. It’s more like what does it mean now that we’ve made all of this progress?”
Rodman adds, “It’s interesting because we started off with a phrase that is kind of aggressive and then over the past year it has evolved into so much more, like what does it mean to be sensitive or what does it mean to be feminine like a girl?”
To accomplish their task the bombshells are incorporating some of what they learned during a fight choreography workshop with Prism Movement Theater co-founder Jeff Colangelo into their choreographic process, which features the duos’ penchant for large, powerful movement guided by contact improv, images and feelings. In this particular piece the bombshell’s movement choices are also being influenced by feedback from an online survey that asked questions such as what does it mean to be feminine and name something you believe in fighting for. The bombshells have also added to their ranks for this piece, with fellow female powerhouses Haley Tripp, Alyx Henigman and Alex Clair.
I caught up with the dance besties during one of their recent rehearsals at Preston Center Dance in which they candidly talked about their experience with fight choreography and what they have in store for the rest of their Like A Girl program, which takes place June 22 at Moody Performance Hall in Dallas.
“It was not an easy class,” Rodman says about Colangelo’s fight choreography workshop. “It was hard to keep it pure because it was so movement-based. It required us to find the balance between anticipating and not anticipating what was happening.”
Bernet laughs, “Oh yeah! We kept getting in trouble for dancing it.”
The class focused primarily on stances and how one should advance and back up and then progressed into more detailed techniques like how to throw a punch. From there more partnering was added and the students essentially made what dancers would call a phrase, according to Rodman. And while the pair will not be performing any of the fighting techniques, they say the experience has definitely impacted their creative process for Like A Girl. “The experience really opened us to the elements of listening and the reactive element in which you try not to anticipate what’s to come,” Bernet says. “The level of physicality involved and this quietness-from-behind-like approach also were aspects of the class that have stuck with me.”
The Bombshell’s second new work, All The More, was inspired by Harry Styles’ “Kiwi” music video and features a cast of 12 students from around the Dallas-Fort Worth area. The applicants were required to submit a three-minute improvisational video and it just so happened that all the submissions the bombshells received were from female dancers, a detail the ladies say works great for this show. “It was opened to everyone, but we would have picked females anyway for this particular show because we are exploring something that is really unique to females and so, that is kind of what we are going for this time,” Bernet says. She adds that the duo is working on some ideas for incorporating men into their work later down the road.
The third piece on the program is New York-based choreographer Amanda Krische’s LUNA. Rodman met Krische at YoungArts Miami during their senior year of high school, and they really got to know each other when they were selected as presidential scholars and spent two weeks together in Washington D.C. The two remained in contact throughout college and when the bombshells decided it was time to bring in another choreographer Rodman says Krische was always at the top of their list.
Krische graduated from Purchase College with a BFA in dance and currently resides in New York City where she works with her own set of dancers. Her choreography has been shown in such venues as LaGuardia High School, the Dance Theater Lab at Purchase College, SUNY, the John F. Kennedy Center for the Performing Arts, Gallim Dance, the Actors Arts Fund and Ailey Citigroup Theater. Her work mainly focuses on the physical history of the body and its connection to memory. This is the first time her work will be presented in Dallas.
“We both learned a lot from her choreographic process,” Rodman says about their time with Krische. “She came in with one little phrase and floor pattern and turned that tiny nugget into a 10-minute dance in only four days. …Amanda works a lot with the ideas of memory, and when we were working with her she was really specific about creating a world and how the movement exists within that world even to the point of what the temperature is and what you are looking at and what you see at different moments.”
The bombshells describes Krische’s piece as a slow burn due to the repetitive nature of the movement. The piece starts off with the two dancers walking a specific number of steps in a predetermined pathway around the space before gestures, pauses and abrupt floor work are woven in to break up the monotony of their walks. The intensity of the piece builds as the dancers dig deep to maintain their high energy levels as the music changes from meditative to pulsating, which leads to an unexpected yet satisfying ending.
Choreographer Yin Yue brings her unique style to Dallas in Begin Again, part of Bruce Wood Dance’s Harmony performance this weekend.
Dallas — Acclaimed New York-based choreographer Yin Yue is the latest name on the short list of artists who have been invited to commission work for Bruce Wood Dance (BWD) since Kimi Nikaidoh took over the reins of the Dallas-based troupe in 2014. Since then BWD has performed 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 Nikaidoh, Joy Atkins Bollinger and Albert Drake. Yue’s new work, Begin Again, will premiere this weekend at BWD’s Harmony performance at Moody Performance Hall in the Dallas Arts District. The program also includes Wood’s poignant The Day of Small Things (2012) and the crowd pleasing Rhapsody in Blue (1999).
In regards to the program Nikaidoh says, “The title represents the variety of this program, and we have been fortunate with Bruce’s work because there is such variety from a single choreographer. Certainly that range expands when you add another choreographic voice to the program, and Yue’s work is a great fit because it is coming from a different place than Bruce’s.” She adds, “I also want our dancers to continue growing in their diverse abilities.”
Nikaidoh calls Wood’s The Day of Small Things a beautiful example of how he could make a quiet work very powerful. “It’s quiet and understated and yet it’s glorious and majestic at the same time. The inspiration for the piece was that these small interactions and moments between people are really meaningful and important. And we don’t need to look at those as though they’re inconsequential.”
Nikaidoh notes that Wood created the piece in honor of her grandma, whom he was very fond of. “He and my grandma had a really sweet relationship. He would let her come watch rehearsal and she was just such a sweet, compassionate and lovely person who really appreciated Bruce’s work.”
On the other hand is Rhapsody in Blue, which Nikaidoh describes as one big party. “It’s elegant, charming and just loads of fun. And that is one of his most classical pieces. There’s a lot of fun, flirtatious and an almost who cares feel to parts of it.”
The third piece on the program is Yin Yue’s Begin Again, which uses heavy electronic music and FoCo contemporary technique to support the cyclical nature of the work. FoCo is a contemporary folk style that Yue originated, which is inspired by the elements, including root, wood, water and metal. Nikaidoh got to experience this way of moving firsthand when Yue visited BWD back in May. In addition to creating a work for the company’s Harmony performance, Yue also taught several technique classes during her stay.
It was during these classes where Nikaidoh says Yue began to create movement for her new work. “She would do some warm up in place and then she would just start a choreographic phrase and what I ended up realizing is that a lot of the movements that she generates for a piece come from these phrases that she uses in her classes.”
Nikaidoh also learned that Yue’s movement style is driven by an internal rhythm instead of a musical melody. Nikaidoh explains, “So, she feels inspired that the first movement should be slow and thick and then the second two movements need to be staccato and coming quicker. And that’s interesting because even though some parts of the dancing end up going exactly with the music the movement itself and the rhythm you’re supposed to do the movement with are really coming from inside her and not from the music.”
Originally from Shanghai, Yue studied classical ballet, Chinese classical and folk dance at Shanghai Dance School. She continued her education at Shanghai Normal University where she had the opportunity to appear in many festivals and dance performances throughout China. Yue moved to New York City in 2004 to pursue a MFA in contemporary dance from New York University’s Tisch School of the Arts.
Yue’s distinct movement style has earned her many accolades over the last couple of years, including winner of Hubbard Street Dance Chicago International Commissioning Project in 2015, BalletX’s 2015 Choreographic Fellowship and Northwest Dance Project’s 5th annual Pretty Creatives International Choreographic Competition in 2013. She was also selected as an emerging choreographic at Springboard Danse Montreal in 2015 and was a finalist of The A.W.A.R.D Show 2010 put on by New York The Joyce Theater Foundation. She currently resides in New York where she is the artistic director of the Yin Yue Dance Company. She also holds the position of artistic director and residency choreographer at Jiangxi Zhongshan Dance School.
In a video on BWD’s Facebook page Yue expresses her amazement with how quickly the dancers were able to pick up her movement in a very short timeframe. “The first couple of days are just about getting your body into what you are doing and there is a learning and questioning like why and how and then we can already see the dramatic change about Thursday Friday,” Yue says. “So, then I create a phrase in front of them and I look back and they are already doing it so we are already 80 percent there and for me it is just way fast.”
You can see Bruce Wood Dance perform Yin Yue’s Begin Again at the company’s Harmony performance at 8 pm. June 15 and 16 at Moody Performance Hall in Dallas.
Dallas Black Dance Theatre tackles their own unresolved issues in Claude Alexander III’s Face what’s facing you!, part of the company’s Spring Celebration Series.
Dallas — Over the last couple of years Claude Alexander III has grown into an even more magnetic and mindful performer thanks to roles in unforgettable dance works such as Bridget L. Moore’s original version of Uncharted Territory for the TITAS Command Performance in 2017 and Jamal Story’s aerial duet, What to Say? Sketches of Echo and Narcissus (2015), which also happens to be one of my all-time favorite pieces. Now, this Dallas Black Dance Theatre company veteran is making his transition into the world of choreography with his first dance work,Face what’s facing you!, part of DBDT’s annual Spring Celebration Series at the Dee and Charles Wyly Theatre in Dallas this weekend.
For his first choreographic piece Alexander is coming to terms with some unresolved issues in his life in order to start the healing process, which he says is the underlying theme of the whole work. “I wanted to create something that is authentic and true to who I am right now,” Alexander says about his inspiration for the piece. “So, I just started thinking about things in my life which lead me to consider some things that I felt like I had to deal with as child and as I came into being an adult and this made me realize that I operate a certain way because I never quite addressed these issues when I was younger.” He adds, “I literally just wanted to be able to have a cathartic point to deal with a few issues in my life and I felt like this work was going to be the beginning of the process for healing.”
Once he had a clear idea of what he wanted the piece to be about Alexander and the other DBDT dancers met in the studio where he had the group create some improv movement based off a series of prepared questions. “I first asked them to identify what their issue is. Then what does it affect in your life. Then I asked them where it hurts you the most. And lastly, I asked them what would it look like to become free from whatever that thing is.” He continues, “And so, we used those four questions to formulate some improv and create some really authentic movement or motifs and from there is just all came together.”
A recent opinion piece on dancemagaine.com entitled “Dancers are Choreographers, Too. It’s Time for Dance Criticism to Reflect That” led me to ask Alexander exactly how much of the dancers improv material did he wind up using. He responds, “Oh, a lot of it! The improv material is probably where we developed the bulk of our motif. Now, I created most of the actual movement, but I would say hey, let’s use the arm from this person’s improv or let’s use that step from this person’s solo. And what I did was each person has a solo within the piece and it’s not always a featured solo, but they all have something that maybe only they do and I siphoned that movement, if you will, to use in other places in the work.”
While the inspiration for the work is based on specific moments in his life, Alexander says the narrative of the piece is not autobiographical. “Well, for one thing, the lead in the piece female,” he says. “At first I thought it was going to be a man because I thought it was going to represent me, but it actually turned out to be a female and she doesn’t necessarily represent me at all. It’s more about what her struggles are, but I certainly used movement and motifs that represent my struggles as well.”
The piece is broken up into five section with the first section focusing more on movement than the actual storyline. The second section is where the main character is introduced and Alexander explains that the three women dancing alongside her represent the three issues she is struggling with. He describes the third section as mostly a duet with a lot of partnering which gives the main character the opportunity to look at how someone else deals with their issues. The fourth section involves a group of dancers and each person is assigned one of the lead’s issues. And the final section is all about the lead realizing her strength and finally addressing a person/issue that she meets in the beginning, but never acknowledges until this last section.
As far as what Alexander wants this piece to say about him as a choreographer he says, “More than anything I want the work to be accessible to everyone. And accessible doesn’t necessarily mean that they need to like it, but that they can still relate to it.” He adds, “My biggest goal is to get the audience to have a reaction so that they leave and say that they understood what they watched or that made mef feel something or that challenged me in a new way. And I think if that goal is reached then I have done my job.”
You can see Face what’s facing you! at DBDT’s annual Spring Celebration May 18-20 at the Wyly Theatre in Dallas. The program also includes Ray Mercer’s Undeviated Passage, Ulysses Dove’s Vespers and Joshua L Peugh’s Rattletrap.
Avant Chamber Ballet reaches new emotional depths in Kimi Nikaidoh’s latest work, The Face of Water, part of the company’s Women’s Choreography Project this weekend.
Dallas — If there is one thing I’ve learned from watching Kimi Nikaidoh’s choreography it is that she likes to take you on a journey either musically, emotionally or narratively speaking. Her first work, Find Me (2015), for Dallas-based Bruce Wood Dance (BWD) was a beautiful tribute to Wood’s aesthetic and evoked warm, happy feelings. Her second work, Bloom (2016), was more introspective and carried the theme of healing and recovery with more of a straight forward narrative. In Nikaidoh’s newest work, The Face of Water, she uses a range of emotions and the highs and lows within the music to drive the movement home.
“So, the piece doesn’t follow a narrative, but is more about an emotional journey,” Nikaidoh says. “In the music there are these beautiful moments that feel to me like new beginnings. I’m talking about these long, stretched out notes that felt like one thing has finished and a new thing is starting. In the music I hear a lot of activity, turmoil and what I started to frame in my head as work, and then what follows these sections are these sweeter, longer notes of hope and new beginnings.”
Watching Avant Chamber Ballet rehearse The Face of Water at Royale Ballet Dance Academy in Dallas last week I was surprised by the amount of ballet vocabulary and other classical elements Nikaidoh chose to use in the piece. But really I shouldn’t be surprised, since a ballerina was all Nikaidoh wanted to be until injuries and the advice of others lead her to audition for the Fort Worth-based Bruce Wood Dance Company (BWDC) when she was 18. Leading up to this Nikaidoh had trained with Tanju and Patricia Tuzer, Canada’s National Ballet School, the School of American Ballet and American Ballet Theater.
Nikaidoh danced with BWDC until 2004 when she moved to New York to have ankle surgery and earn a degree in neuroscience from Columbia University. During this time she also continued to perform with various groups, including Bruce Wood Dance, Thang Dao Dance Company, Columbia Ballet Collaborative and Emery LeCrone Dance. Nikaidoh also toured nationally and internationally with Complexions Contemporary Dance. After Wood’s death in 2014 Nikaidoh decided to return home and eventually took over the reins of BWD.
The Face of Water is one of two new works ACB will present as part of its Women’s Choreography Project (WCP),April 21-22, at Moody Performance Hall. The other work is Day Vignettes by former Ballet Austin dancer Michelle Thompson Ulerich with new music by composer Catherine Davis. ACB’s entire program, titled Moving Music, will also feature George Balanchine’s Valse Fantaisie, Christopher Wheeldon’s The American Pas de Deux and Paul Mejia’s Serenade in A. Each piece will be accompanied by live music.
When asked about her decision to have Nikaidoh set a piece on the company, ACB Artistic Director Katie Cooper says, “I’ve known Kimi since I was a teenager and I’ve always admired her as an artist both as a dancer and now as a choreographer and director. Her work is very balletic, but the center of gravity is lower like Bruce’s work so it’s a nice change from our more classical repertoire.”
Inspired by Argentine composer Osvaldo Gojilov’s 2002 chamber piece Tenebrae, The Face of Water is an emotional rollercoaster that forces the dancers to delve deeper into their own psyche. In between trios and quartets Nikaidoh has incorporated standard pas de deux and corps work that feature the dancers’ gorgeous lines, pliable spines and supple feet, which will be adorned in ballet slippers for this number. Like Cooper, Nikaidoh preferred to keep the corps in motion with continuous formation changes and stage entrances that challenged both the dancers’ musical timing and spatial awareness. You can see Nikaidoh’s own personal touches sprinkled throughout the piece, but especially in the dancers’ port de bra arms and the quieter moments in the music where the dancers had to rely on smaller gestures and unlikely body shapes to convey their feelings.
When asked about her experience working with the dancers Nikaidoh says, “I loved working with ACB. The dancers are smart, quick and so willing to do the work.”
She adds, “This was also a great learning experience for me because I am used to working with a certain set of dancers who in general were approaching movement from Bruce’s perspective. I noticed that even though I share a classical vocabulary with ACB there were still things about how I wanted them to get from one classical step or space to another that were very influenced by my contemporary background and my work with Bruce. So, what I recognized during the process was that those were the moments I needed to spend time on.”
Now, unlike Cooper’s balletic works, Nikaidoh’s piece doesn’t include any petite allegro jumping sections or any grande jete jumping passes. You also won’t see any fouette turns. Instead, Nikiadoh focused on the dancers’ connections both physically and visually and how these connections change and evolve with the music. “We talked about connective tissue between them and for them to all feel like there’s this complex type of spider web that’s connecting everyone’s limbs together. I mean these dancers are used to working as an ensemble and they understand the importance of clean lines and the need to stay together, but when you have someone new come in and ask them to go off balance or run low instead of high sometimes a different image can be helpful.”
This year marks the fourth annual WCP, an endeavor Cooper started when she noticed so few female choreographers being represented on many local and national professional dance companies’ seasonal programs. Since its inception WCP has featured new works from almost a dozen national and international female choreographers, including Shauna Davis, Janie Richards and Elizabeth Gillapsy. As far as where WCP goes from here Cooper says, “I’d love to get to a place where WCP isn’t needed anymore. In four years I’ve seen a shift across the country with a lot of discussion of the problem and many more ballet companies commissioning female choreographers. We aren’t there yet, but we are inching toward equity.”
The American Ballet Theatre principal dancer on performing Giselle with LakeCities Ballet Theatre and guest teaching at Dance Planet 22 this weekend.
Lewisville — The image we have of ballet dancers today is changing thanks to professional dancers like Misty Copeland, David Hallberg and Sarah Lane. These dancers have done what many say is impossible and have brought classical ballet into households around the world with their artistic pursuits both on and off the stage. Copeland is the first African-American to reach principal status at American Ballet Theatre (ABT). In 2011, Hallberg became the first American to join the ranks of the Bolshoi Ballet of Moscow. And Lane is most recognized for her role as dance double for Natalie Portman in Fox Searchlight Pictures’ feature movie Black Swan (2010). But in the last year Lane has also been making some big moves on stage as well, if her promotion to principal dancer with American Ballet Theatre (ABT) in September 2017 is any indication. She also received positive reviews for her debut role in Giselle last spring at the Metropolitan Opera House (MET) in New York City.
Throughout her career with ABT, which started in 2003 as an apprentice, Lane has performed in numerous classical ballets, including Cinderella, Coppélia, Le Corsaire, Don Quixote, The Nutcracker, The Sleeping Beauty, Swan Lakeand Les Sylphide. She also created the Chinese dance in Alexei Ratmansky’s The Nutcracker, the Miettes Qui Tombent (Breadcrumb) in Ratmansky’s The Sleeping Beauty, Miranda in The Tempest, Princess Praline in Whipped Cream and a role in Demis Volpi’s Private Light. Lane has also performed in works by notable choreographers such as Sir Frederick Ashton, Antony Tudor, George Balanchine, Liam Scarlett, Jorma Elo, Marcelo Gomes, Mark Morris and Twyla Tharp.
Lane began her dance training in Memphis, Tenn. under the direction of Pat Gillespie at the Memphis Classical Ballet. When her family moved to Rochester, N.Y., she continued her training with Timothy Draper and Jamey Leverett at the Draper Center for Dance Education. At age 16, Lane received a full scholarship to the Boston Ballet’s Summer Program. In 2000 and 2001, she was awarded first place and the Capezio Class Excellence Award at the North American Ballet Festival. In 2002 Lane became a U.S. Presidential Scholar in the Arts.
Lane will be pulling double duty this weekend as she reprises her role in LakeCities Ballet Theatre’sGiselle and guest teaches at Dance Planet 22. TheaterJones.com caught up with Lane after she returned from tour last week to discuss her rise through the ranks at ABT, preparing for the role of Giselle and participating in Dance Planet 22.
TheaterJones: Growing up, was becoming a professional ballet dancer with American Ballet Theatre (ABT) your main goal?
Sarah Lane: I have always loved dancing, but I never expected to be in a major ballet company because I just never felt that highly of myself. It wasn’t a goal I felt was obtainable for me until we moved to Rochester, New York, and I started at a more difficult school and was exposed to more teachers and guest teachers in the summers. I loved imagining myself as a professional ballet dancer because of the qualities these teachers brought to their classes and their teaching skills really rubbed off on me. So I kept working, and when I was 16 I came to New York City with a friend and saw ABT perform at the MET for the first time, and it made me think that maybe my dream is to be in ABT.
I always thought that NYC was too big of a city for me and being part of ABT would be too stressful, but then I thought of how beautiful the dancers looked on stage and I really wanted to be a part of that. And I think a lot of this had to do with the ballerina I saw that night, Amanda McKellow, who to this day is one of my favorite ballet dancers. She has such a sensibility when she moves and is so humble and she helped me a little bit with Giselle in the studio, which also happens to be the ballet I saw her perform in when I was 16.
You mentioned that you never saw yourself becoming a professional ballet dancer because you didn’t think that highly of yourself. How did you find the confidence to pursue your goal of joining a professional company?
Well, it’s something that I struggle with to this day. And I guess you can call it my Achilles heel because I have never been incredibly sure of myself. I love what I do and I get lost in it and I get lost in a certain feeling. It’s the feeling and the ideas I bring to what I do that drives me. And also the people that I work with and the processes that just make my performances whole rather than me coming out and thinking ok I can do this, this and this. So, instead of it being about me and myself and what I can do that drives me, it’s more about the artistry and what ideas I am trying to portray. So, in that sense I guess I don’t focus so much on whether I have confidence or not. I would say my confidence has gotten better over the years in that I’ve learned to appreciate the process more, and if I give more to the process then it distracts me when I go onstage so I can focus on the work more.
Looking at your career as a whole what advice do you have for the next generation of ballet dancers?
The most important thing is to have a really good work ethic because if you think you are too good to work or if you have one good show and you don’t think you have to work after that then that’s your downfall. Your whole career is going to be work and it’s not easy for anyone. Humility is also very important and having perspective in life and just keep working. I mean, perfectionism is great because that’s what keeps you working, but another point is you can’t judge yourself so much that you lose your love for what you do.
You were a soloist with ABT for 10 years before being promoted to principal last year. At any point during those years did you just want to throw in the towel?
I felt like I was just bashing my head up against a brick wall for many years. I wanted to go further and I wanted to develop and I wanted to do new and fresh works, but the thing is nothing is ever lined up so you can get what you want all the time. And that is how it was for me. I wasn’t lucky with the timing of how the company was going for a huge chunk of my career. But at the end of the day I learned a lot of things I wouldn’t have learned if I didn’t have to persevere through that time. I learned how to work for myself and drain as much as I could from a role, which I wouldn’t have been able to do if I was thrown into things faster. I wouldn’t have learned how to keep myself occupied and keep myself entertained with what I had. So, this taught me perseverance and how to motivate myself. I mean if you really love something than you have to keep working toward it. Even when you get discouraged you have to find a way to inspire yourself.
You had your debut in Giselle at the MET last May and received rave reviews. One critic even called you the Giselle for the Millennials. How did you go about making the role your own?
I really enjoy the depth of the story and the ethereal feel of the second half. This wasn’t a role I was thrown into. I have done so many peasant pas’s in my career that playing Giselle just felt like the next step for me. So, for me it wasn’t like all of the sudden I was on that night. It was more of a progression of so many years of continuing to be disciplined and continuing to love what I do. I have such fond memories of doing the ballet with LakeCities Ballet Theatre nine years ago that when I finally did it with ABT I just had such love for it that whatever judgements I had about myself I had to throw out the door because I felt like the ballet didn’t deserve any of that. And even though Giselle is one of the oldest ballets, it still contains emotions and storylines that people can relate with today such as love and betrayal. So, the ballet is still living and breathing the emotions that we have as human beings.
You performed in LakeCities Ballet Theatre’s (LBT) Giselle nine year ago, and you have also been playing the role of the Sugar Plum Fairy in the Company’s Nutcracker since 2014. What do you enjoy most about working with these young dancers?
It always helps to having someone older to look up too and learn from so I hope that there is something these dancers can learn from me and that I could be there to give them any tips or offer some encouragement. That’s what I enjoy about having these dancers around and watching and talking to them and just being a part of their productions. It’s really an honor for me to be there and to be a role model for them. LBT has a really good heart and lots of positive energy and they have kind of accepted me into their family and that just means so much to me.
While in Dallas you will also be performing and teaching classes at Dance Planet 22. How would you describe your teaching style?
I think I am a pretty fair type of teacher. I mean if someone doesn’t seem like they are really invested in my class I can be a little tough with them because if you’re not interested now then you are never going to be interested. But if a dancer is working hard, but still struggling with something I am more than happy to be gracious and give everything that I can to help them. The tough love side of me really only comes out when I feel like a student is being lazy or isn’t trying. I love coaching and being with dancers inside the classroom, so teaching is definitely something I see myself doing more of in the future!
You can see Sarah Lane in LBT’s production of Giselle April 6-7 at the Medical Center of Lewisville Grand Theatre and Dance Planet 22 April 7-8 at Booker T. Washington High School for the Performing and Visual Arts in the Dallas Arts District.
Bruce Wood dancer Emily Drake on partnering with Houston-based METdance in Bridget L. Moore’s new work, Following Echoes, part of the Lone Stars performance on Friday.
Dallas — Emily Drake is not hard to spot on stage amongst the other members of Bruce Wood Dance (BWD). Her fiery red hair and petite statue will always draw your eye, but it’s the way she lives in the movement that keeps us from being able to look away. “Emily is a really gifted performer and an intelligent mover,” says BWD Artistic Director Kimi Nikaidoh. “She can make just about anything work. So, say you ask her to make a turn go into something else that goes to the floor or in the air and she can very quickly find a way to make that happen. Her musicality is also really remarkable. …There are dancers who can do something on the note and there are dancers who can do something with the feeling of the note in the music and Emily can do with the feel of the note immediately. It’s this emotional intelligence too that makes her performance so satisfying to watch.”
Originally from Nashville, Drake grew up studying modern, ballet and jazz and attended summer programs at The Rock School of Ballet. She came to Dallas in 2010 to attend Southern Methodist University’s Meadows School of the Arts where she had the opportunity to perform in works by renowned choreographers Martha Graham, Adam Hougland, Jessica Lang, Billy Siegenfeld, Bill T. Jones and local dancemaker Bruce Wood. She met Wood toward the end of college and worked with him on a project basis till she graduated in 2014 and officially joined the Bruce Wood Dance Project (BWDP), now Bruce Wood Dance. Today, Drake is one of the few remaining company members that got to work with Wood directly before his passing in May of 2014.
“He was very intense,” Drake says about her first time working with Wood in the summer of 2013. “He did not let me go under the radar. He pushed me and really laid into me and it was all because he was trying to get something out of me that I wasn’t aware of yet. He just had this energy about him that made the people around him want to be great for him.”
Drake laughs as she reflects on RED, the first piece she learned with the BWDP, and one of the two Wood works the company will be presenting at its Lone Stars performance with special guests Houston-based METdance this Friday evening at Moody Performance Hall. “I was blown away by the physicality of it and at the time it was the hardest dance I had ever done.” Drake explains, “I didn’t know how to balance my energy yet so, I just pushed myself to go 100 percent the entire time and you just can’t do that in this piece. After I learned how to control my energy the piece feels so different now and I definitely get more enjoyment out of doing it.”
In addition to RED, BWD will be doing another Wood favorite, Lovett! and Drake and David Escoto will perform in Bridget L. Moore’s new work Following Echoes alongside METdance company members Danielle Garza and Kerry Jackson. The program also features METdance’s Mario Zambrano’s Volver, Paralyzed by Fear by Houston-based Courtney Jones and Snow Playground by New-York based choreographer Katarzyna Skarpetowska.
“This show is all about celebrating dance in Texas,” Nikaidoh says about the program which she collaborated on with METdance Artistic Director Marlana Doyle. “At first it was just going to be a shared show and then we thought how great it would be for someone to come in and set a work using dancers from both companies.”
The choreographer they chose is Texas native Moore, who at the time was the head of Dallas Black Dance Theatre. She has since been released from her position for reasons that are still unknown. It’s the organization’s loss as Moore has continued to find ways to share her creativity within the Dallas community and her most recent work, Following Echoes, will be making its debut in Lone Stars. “The only directives we had for Bridget was length, the number of dancers and that we would like the work to have emotional weight and be athletic,” Nikaidoh says. “We appreciate her coming in and giving our dancers this opportunity to learn from her.”
As one of the four dancers in the piece Drake was able to give me some behind the scenes information about Moore’s creative process and what is was like working with the dancers from METdance. Drake says Bridget started off the process by talking to them about her feeling for the piece. That it would be her way of showing appreciation toward Bruce as well as delve into the different transitions we go through in life.
“She then used the different images we have of Bruce in the studio to create a motif based off of how each image made her feel,” Drake says. “Some of the movement was planned while other times she would just give us a directive like right leg developpe in a circular motion.”
Drake adds that the structure of the piece is a mix of ensemble work with solos plugged in, but in the ensemble sections the dancers are rarely doing the same things at the same time. She also says there is not a whole lot of partnering involved in the dance. “Bridget likes to keep your eyes moving around the space. She likes filling up the stage so big, full lines of energy are very important to her.” Drake describes the piece as, “Kind of like being on a rollercoaster because there are these moments of high energy and others when the movement calms down, which is represented through the highs and lows in the music.”
The cast learned the piece in a very short time at the BWD Gallery back in December and then to keep things balanced went to Houston to rehearse at METdance’s studio space a few weeks ago. “It has been a really nice collaboration,” Drake says. “Everyone was so easy going and honestly we were just enjoying each other’s company.”
As for Drake’s future as a dancer she says, “BWD is home for me. It has given me everything I didn’t know I was looking for and there has never been a moment that I felt like I wasn’t growing as a dancer.” She adds, “From the start everyone was so supportive and I never really felt like I was in this alone and that’s what I like about the company. BWD has always been first and foremost about the group so, if you don’t love it then this is not the place for you.”
Avant Chamber Ballet celebrates its artistic growth with three physically and musically challenging works in Beauty and Bach.
Dallas — One major sign of a business’s staying power lies in its ability to grow even when facing obstacles that are out of its control. Since its inception in 2012, Avant Chamber Ballet (ACB) has been sticking to its mission of reconnecting ballet with live music by providing live chamber music at every one of its performances, while also stretching audiences’ understanding of classical ballet with Artistic Director Katie Cooper’s bold choreographic choices and keen eye for interesting and diverse guest artists and local collaborations. Cooper will need to rely on these skills moving forward in the midst of The Arts Community Alliance’s (TACA) announcement last month that it will be cutting its funding to local arts groups. To try to counter this hit to ACB’s bottom line, Cooper has been busy applying for grants as well as promoting the heck out of their performances with the hopes of increasing ticket sales.
The silver lining in all this is that people have been talking about ACB’s upcoming Beauty and Bach performance, which takes place Feb. 17-18 at Moody Performance Hall, since the company made the announcement back in the summer. The line-up includes George Balanchine’s musically challenging Concerto Barocco, the world premiere of Cooper’s Appalachian Spring featuring a 13-member orchestra and Cooper’s restaging of Aurora’sWedding from Sleeping Beauty with music from Pyotr IIyich Tchaikovsky’s score, which is arranged by Bryan English. Dallas native Brad Everett Cawyer will conduct the whole evening with the group of musicians he has hand-picked with ACB Music Director David Cooper.
When asked if ACB is ready for such an ambitious program Cooper replies, “Musically it is ambitious and I think the company needs to grow in that way because artistically we are the strongest we have ever been.” She adds, “I almost hate to use the word ambitious because I think it’s not ambitious in some ways because we have been working toward this since the beginning. Yes, it’s a bigger program that we have done before, but we are definitely ready for that.”
Cooper also notes that a program such as this one enables the audiences to see a variety of balletic styles in one setting. And with live accompaniment. “In this case we have a beautiful neo-classical Balanchine piece, my Appalachian Spring which is quite neo-classical and modern ballet, and then Aurora’s Wedding, which is the only super classical ballet we’ll do this season.”
With her strictly classical background you would think it would be challenging for Cooper to tap into the modern nuances of Martha Graham’s Appalachian Spring (1944), but Cooper says her lack of modern training actually worked in her favor. “It wasn’t hard for me to create something different because I am not a Graham dancer and therefore her work is not in my mind or body. I know Martha’s verision, but it’s so far apart from my vocabulary that I knew nothing was going to come out looking like hers.” Cooper adds that a lot of the movement for the piece was a testament to how fantastic the music is, which was composed by Aaron Copland and features a 13-member chamber orchestra.
“It’s such beautiful music and it’s easy to dance to because Copland wrote it for Martha Graham so, the counts are really clear and melodic sounding.” She adds, “There are also a lot of familiar themes like ‘Simple Gifts’ which is just really famous, so a lot people can sing the words to that song. So, in that I think Appalachian Spring is a very accessible piece for audience members who don’t get to see music concerts and dance pieces very often.”
Unlike other ballets of this time period, Concerto Barocco was created with no story or theme in mind. Instead, the choreography is a direct response to Johann Sebastian Bach’s Double Violin Concerto, which will be performed by soloists Eleanor Dunbar and Lauren Densinger. The work is split into three movements with the third one being the allegro section featuring the entire ensemble, which ACB was in the process of cleaning when I stopped by the company’s rehearsal at Bruce Wood Dance’s studio in the Dallas Design District two weeks ago.
All 10 dancers hop on pointe into two parallel lines that extend diagonally across the space, their arms moving from fifth then alternating side lines, as they shift their focus from side to side to match the syncopated chords of the music. The dancers’ stamina and continuity are tested with the section’s many formation changes and complicated phrasing such as asymmetrical arm and leg movements as well as quick balances and constant weight changes on pointe. “Balanchine’s choreography is so incredibly clear and every note of the music has a step, so really the dancers never stop moving for the whole 18 to 19 minute ballet.” Cooper adds, “It’s all about clarity and stamina.”
Choreographer and Hurricane Katrina survivor Michelle N. Gibson shares her story in Displaced, Yet Rebirthed, part of Dallas Black Dance Theatre’s Cultural Awareness Series.
Dallas — In August 2005, Michelle N. Gibson and her family, including her newborn son, piled into their car and drove away from their New Orleans home. A home they would never return to due to the flooding and destruction left in the wake of Hurricane Katrina. With very few supplies and no means to contact family and friends, Gibson and her family drove all the way to Dallas where her boyfriend at the time had recently resided. It was in a hotel lobby where Gibson got her first look at the devastation caused by Katrina. “We had no idea what was going on because we didn’t even have electricity in the hotels so, we didn’t know about the conditions of the convention center or the whereabouts of our family and friends. Let me tell you! When I watched the TV for the first time and saw the people in front of the convention center looking like it was a third world country, I just lost it. I have never felt so helpless.”
That first year after relocating was a tough one for Gibson, who knew nobody in the area. She chose to stay home with her young children instead of finding a job as a dance educator. She says at the time she didn’t even want to dance. All that changed the day Vicki Meek called her out of the blue and told her to get down to the South Dallas Cultural Center. “Now, if you know Mama Vicki then you know when she speaks you better listen. She said she heard that I had been in Dallas for a year and she had not laid eyes on me so I needed to make my way down to the South Dallas Cultural Center.”
Gibson soon found herself at the South Dallas Cultural Center where she met Meek who, to this day, has been a source of comfort and support for Gibson. “The South Dallas Cultural Center was the space that gave me a new start. It gave me a new place to create and a new home and I am forever grateful to Vicki and the center.” She adds, “Vicki also enabled me to pick back up with Exhibit Dance Collective, a dance company I started in New Orleans which is kind of like the Urban Bush Women of the south in that the work was all about the feminist empowerment movement and women of color.”
Today, in addition to running Exhibit Dance Collective, Gibson also teaches dance at Brookhaven College and Mountain View College in Dallas. She also holds an artist in residence position with the Ashe’ Cultural Arts Center in New Orleans. Over the last 12 years Gibson has also taught dance for the Dallas Independent School District and has conducted numerous dance intensives and workshops for universities and cultural centers across the U.S. and in Germany. Gibson earned a B.F.A in dance from Tulane University and her M.F.A in dance and performance studies from Hollins University/American Dance Festival at Duke University.
Gibson’s choreographic works include New Orleans Second Line: Takin It To The Roots performed at the American Dance Festival in 2001; Mufaro’s Beautiful Daughters with the Dallas Children’s Theater; Krump accompanied by the LoneStar Wind Orchestra at the Meyerson Center; 2008 South Dallas Dance Festival premiere of I Made It, But Some Didn’t, a tribute to souls survivors of Hurricane Katrina; and the Dallas premiere of Evolution: Honoring, Recognizing, and Uplifting Women of Color and Sisters of the Yam at the South Dallas Cultural Center in 2012.
This weekend Gibson will be sharing her Katrina evacuation story using some traditional New Orleans dance moves and music in Displaced, Yet Rebirthed, which is part of Dallas Black Dance Theatre’s (DBDT) Cultural Awareness Series at the Dee and Charles Wyly Theatre. It was recently announced that the dancers will be accompanied by The Kickin’ Brass Band and New Orleans trumpeter Thaddeus Ford in the grand finale. The program also includes Christopher L. Huggins’ tribute to South African President Nelson Mandela in His Grace.
After receiving the call from former DBDT Artistic Director Bridget L. Moore asking if she would be a part of the performance, Gibson spent a week with the company exploring her movement aesthetic which she calls a fusion of jazz, contemporary, Afro modern and New Orleans second line, a style Gibson says she has been cultivating since graduate school.
“Second line is not something you learn in a dance studio. For me, second line is kind of the traditional dance of New Orleans so for my thesis I began to look at a dance that’s done from an impulse and then started creating a language so the movement could be taught.” She continues, “In my classes I will usually have a live brass band there because the music cannot be separated from the movement. Like when you go church and the spirit hits you it’s like a buildup of adrenaline that needs to release. So, that’s what I try to maintain in my second line aesthetic.”
Gibson created Displaced, Yet Rebirthed during her residency at the University of Illinois at Urbana Champaign last year and says the process was like a therapy session with herself. “It has taken a while for me to creatively through dance do a work about Katrina because I’m still wearing it. We ALL are still wearing it. And this piece is about what we are still living through every single day.”
When it was time to go into the studio with DBDT Gibson says she knew the dancers were technically good, but that this work was not just about the movement. “It’s about the dancers being able to embody a real life experience such as the loss we all felt after Katrina. Because Katrina was a loss for us all emotionally, mentality and spiritually. So, I went in thinking of the work as a compositional piece and focused on getting the dancers to understand how to allow the human experience to be the movement and not the movement being the movement.”
Gibson also points out that there is a fine line between being authentic and acting when creating a piece on such an emotional topic like Katrina, and so to keep the piece from becoming overly dramatic she would sit down with the dancers before every rehearsal to just talk. “You see, I always wanted them to know where I was in my spirit as a human being and not just as a choreographer and talk about my intentions for the work. We would talk about different parts of Katrina and how it happened for me so then they could take my experience and make it their experience.”