Dallas DanceFest has announced its 2017 line up which shows a lot of hometown pride.
Wow! It is hard to believe that this year marks the 4th installment of Dallas DanceFest (DDF) which was created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas. It looks like the festival’s mission of presenting high caliber and well-rounded dance performances will continue this year with a program that features all the major local players as well as the largest showing of pre-professional companies to date and a handful of relatively unknown dance companies from around and outside the Metroplex.
Let’s start with the bigwigs in Dallas dance. For the fourth straight year Bruce Wood Dance Project, Texas Ballet Theater and Dallas Black Dance Theatre will be featured at DDF as well as their smaller counterparts DBDT: Encore! and the Texas Ballet Theater School.
We will also see pieces from some repeat dance companies, including Dark Circle Dance Company, Contemporary Ballet Dallas, Indique Dance Company, Southern Methodist University’s Meadows Dance Ensemble and Houston-based NobleMotion Dance.
DFF 2017 will also feature a number of first timers, including Danielle Georgiou Dance Group, Center for Ballet Arts, Impulse Dance Project, Uno Mas and Grandans. Southern Methodist University Meadows dance student’s Kat Barragan and Arden Leone will also be showcasing work for the first time at this year’s festival.
I am also pleased to see so many familiar pre-professional ballet companies on this year’s roaster, including Ballet Ensemble of Texas (Coppell, TX), Ballet Frontier of Texas (Fort Worth, TX), Chamberlain Performing Arts (Plano, TX), Dallas Ballet Company (Dallas, TX) Royale Ballet Dance Academy (Dallas, TX) and LakeCities Ballet Theatre (Lewisville, TX). I have seen these companies perform a variety of dance styles from classical and neo-classical to more contemporary and jazz movements and I am eager to see how these aspiring professionals handle the pressure of sharing the stage with the more seasoned artists on this year’s program.
We have also seen a surge in the number of dance festivals occurring around Texas over the last couple of years so, it didn’t surprise me to see the Rhythm and Fusion Festival and Wanderlust Dance Project in this year’s line up. If you’re interested in reading more about the rise of dance festivals in Texas then you should read Nichelle Suzanne’s 2015 article for Arts+Culture magazine entitled Talent, Training, Festival & More: Fueling Contemporary Dance in Texas.
The 2017 Dallas DanceFest will take place Sept. 2-3 at the Moody Performance Hall, formerly Dallas City Performance Hall. More information about the festival can be found on the Dance Council of North Texas website.
Bruce Wood Dance Project humanizes the refugee crisis in Albert Drake’s Chasing Home, part of the company’s Journey’s performance this weekend.
Dallas — Emily Drake tenderly cups David Escoto’s face in the palm of her hand before he scoops her up and spins her around in childlike glee while the rest of the dancers quietly celebrate in the background. As the duet progresses, the two twist, duck and arc around one another while always maintaining their connection through physical touches and eye contact. This marriage ceremony is just one of many poignant moments viewers get to witness in Albert Drake’s new work Chasing Home, which depicts the day-to-day activities of those currently living in refugee camps as they seek to reclaim their identities. The work features an original score by Joseph Thalken, which will performed live by the Dallas Chamber Symphony at Bruce Wood Dance Project’s(BWDP) Journeys performance June 16-17 at Moody Performance Hall, formerly Dallas City Performance Hall. The program also includes Bruce Wood’s Schmetterling (2004) and Zero Hour (1999).
Out of the full 20-minute piece, it’s the duet with Emily Drake and Escoto where we really get to see who Albert Drake, Emily’s husband, is becoming as a choreographer. Yes, Wood’s aesthetic is visible in the dancers’ swooping arm and leg movements and nuanced gesturing, but there is a vulnerability and sensuality in the couple’s partnering that is uniquely Albert Drake. “It is not sexual at all,” Albert Drake says. “It’s sensual in that it’s more about seeing, touching, hearing and feeling. It was about finding those intimate connections between the dancers.” Wood’s influences can also be found in the couple’s silky smooth transitions and momentum-driven partnering and floor work, whereas the dynamic bodying shaping and contrary movement phrases showcased in the dancer’s individual moments cater more to Albert Drake’s artistic sensibilities.
When asked about his evolving movement tastes Albert Drake says, “There are definitely a lot of influences from Bruce in my work just because I adore and respect him. I have also found a lot of connection to his work from my concert training at Southern Methodist University’s Meadows School of the Arts.” Before attending SMU in the fall of 2008 Albert Drake says his knowledge of concert dance was limited. It wasn’t until he took Graham technique with Professor Myra Woodruff that he fell in love with the art form. It was also during this time period that he met Bruce Wood who came to SMU looking for dancers to perform in the first concert of BWDP.
(Woodruff’s teaching methods were recently praised on Dance Teacher magazine’s website by former student Corinna Lee Nicholson. Check it out here.)
“There were a lot of connections between my Graham classes and Bruce’s work, so I never felt as if I was starting over with a new aesthetic,” says Albert Drake about his first year with the BWDP after graduating from SMU in 2012. “And these connections definitely and heavily translated in my first work Whispers. That piece kind of came out of nowhere and so, I definitely played from what I knew.” Since the premiere of Whispers last season, Albert Drake says he has been trying to find more of his own self in the movement. “Dynamic range has always been important to me. Also, suspension, release, contraction, expansion, soft and aggressive. I like playing around with all these elements and I hope this comes across in my work.”
Circling back to the marriage ceremony mentioned earlier, Albert Drake says the idea came from one of the multiple documentaries he has watched pertaining to the refugee crisis. He was particularly touched with a story about a couple that had met, fell in love and gotten married while living in a refugee camp. “I was inspired by the fact that even with everything else that was going on people came together and found items like pieces of fabric and makeshift flowers to adorn the bride and groom in. It’s these moments of hope and of being able to move forward and progress while still living in this situation that is really what this piece comes down to for me.” A wedding isn’t the only communal activity featured in the piece. Albert Drake also brings soccer and the dabke, a Middle Eastern dance, into the fold with movement sequences dedicated to fast, syncopated foot work similar to an Irish jig and rhythmic soccer drills performed by the men.
After watching Albert Drake and Joseph Thalken converse at the end of rehearsal about the music for the final section it’s clear the two have an amicable working relationship and seem to be on same page in terms of the bigger picture. When I mentioned this to Albert Drake later he chuckled and admitted it has taken a lot of time and mind mapping for them to get to this point. “In our first meeting we wrote a lot of stuff down on paper in terms of content, tune and mood and then we just starting tying all these things together.” He adds, “Joseph and I broke everything into sections with working titles, so there really is no beginning, middle or end to the piece. Instead I created different chapters or vignettes with the hope audiences will focus more on the dancers’ connections than following a narrative.”
Avant Chamber Ballet puts its classical technique and acting skills on trial in Alice in Wonderland at Dallas City Performance Hall this weekend.
Dallas — One by one the eight dancers place their hands on the waist of the person in front of them as they step into a wide second position. After a slight pause, the group slinks off stage as one using small, synchronized steps. If you are familiar with the characters in Lewis Carroll’s 1865 novel Alice’s Adventures in Wonderland, which follows a girl named Alice after she tumbles through a rabbit hole into a fantasy world populated by peculiar creatures than you can probably tell that the eight dancers are personifying Absolem, the Hookah-smoking caterpillar.
It was clever of Artistic Director Katie Cooper to use multiple dancers to depict the caterpillar in Avant Chamber Ballet’s (ACB) presentation of Alice in Wonderland which comes to Dallas City Performance Hall Feb. 11-12. Not only do the dancers get to show off their exemplary adagio skills, including sustained balances, graceful arm placements and fluid movement transitions, but the human-made caterpillar also gives Cooper the opportunity to play around with the dancers’ musical timing, something that Cooper is well known for along with her meticulous attention to technical details and imaginative use of space and movement patterns.
A prime example of Cooper’s artistic attributes can be found in the Flower dance, which resembles the Waltz of the Flowers from The Nutcracker both in costuming and the dancers’ fluid movement quality. But unlike most traditional ballets Cooper doesn’t like to use the corps as stage ornaments; instead she prefers to have them moving on the sides of the stage at all times. She also likes to feature the corps in in various geometric traveling patterns and opposite movement sequences that pay homage to Cooper’s Balanchine roots.
Cooper’s balletic interpretation of the classic children’s tale sticks close to the original story with Alice chasing the White Rabbit into Wonderland where she encounters a host of eccentric beings, including Tweedle Dee and Tweedle Dum, the Cheshire Cat, the Mad Hatter and of course the Queen of Hearts, who sentences Alice to death after she insults the Queen during a game of croquet. Cooper puts her own spin on the story with the addition of a human-made caterpillar, dancing mushrooms, a tea party gone haywire and a Greek chorus representing jurors in the trial scene.
While Cooper says little has changed choreographically since ACB first presented Alice in Wonderland back in 2014, she points out that viewers will notice substantial changes in both the venue and cast size. “Dallas City Performance Hall is quite bigger than Bank of America Theater in the Eisemann Center for Performing Arts,” Cooper says. “This allows us to have larger casts and do a few effects and stagings the way I really wanted to do last time, but there just wasn’t enough space.” She adds, “The Company has also grown so there will be more professional dancers and children in the show this time around.”
Today, ACB has more than 15 company members from all across the U.S., including California, Illinois, Kentucky, New York, Texas and Virginia as well as a few international members hailing from Russia, Ukraine and Japan. The production also feature 60 young dancers from studios across the Metroplex, including Park Cities Dance, Mejia Ballet and Legacy Dance Center.
Company members Madelaine Boyce and Yulia Ilina will reprise their lead roles as young Alice and the Queen of Hearts, which not only suit their physical appearances, Cooper says, but also their individual personalities and technical tendencies. “Physically Madelaine looks like the almost perfect Disney Alice, but I also choreographed it just for her so it is very suited for her. And I can’t picture anyone else doing the Queen as well as Yulia Ilina. She is tall and long limbed so she literally towers over Alice. But Yulia is also a great comedian and actor, which might surprise you if you’ve only seen her in tradition ballerina roles.”
I got to see Boyce in action when I sat in ACB’s rehearsal of Alice in Wonderland at Park Cities Dance in Dallas last week. (Ilina was unable to attend this rehearsal). Boyce was very quiet and focused as she stretched her limbs before practice. Even the way she adjusted her hair and tightened her ballet skirt was accomplished in a calm lyrical manner. Cooper has wisely chosen movement phrases for Boyce that complement these individual traits, including long, sustained reaches, smooth shifts in epaulement, complex foot work and thoughtful gesturing.
Like the rest of the company Boyce also exhibits an excellent ear for music, a skill Cooper put to the test in rehearsal by switching out the musical recording for one with a slightly faster tempo. Boyce barely blinked an eye before speeding up her turns and battements to match the new tempo. The score is written by Chase Dobson (now Mikayla Dobson) and features the piano and strings, and will be performed live by members of the Dallas Symphony Orchestra led by conductor Brad Cawyer.
Working on this ballet has also given Cooper the opportunity to reflect on her own artistic growth and that of her dancers over the last three years. “When we did Alice the first time I spent almost half a year on it. I still have my big binder of all the steps I wrote out and meticulously planned. At this point, I trust my own ability and creativity more. I don’t go into each rehearsal for a new ballet with quite so much structure.” She adds, “My dancers have also grown tremendously. At a small company like ours everyone has opportunities in casting that are sometimes few and far between in large groups. That can push you as a dancer in a very good way.”
Avant Chamber Ballet presents Alice in Wonderland Feb. 11-12 at Dallas City Performance Hall in the Dallas Arts District.
Bruce Wood Dance Project demonstrates the healing power of dance in Artistic Director Kimi Nikaidoh’s new work Bloom, part of the company’s SIX performance this weekend.
Dallas – Bruce Wood was known for making dances that touched viewers in very real ways. He created dances about human nature, the good the bad and the ugly. So, it comes as no surprise that long-time Bruce Wood dancer Kimi Nikaidoh would draw from her own personal experiences to aid in the creation of her new work Bloom, part of the Bruce Wood Dance Project’sSIX performance Nov. 11-12 at Dallas City Performance Hall.
The work, which focuses on the healing and reclaiming of hope through recovery in a number of poignant solos, duets and trios, was inspired by the emotional rollercoaster Nikaidoh experienced during the lowest points in her life – in particular the passing of her brother and her broken engagement. “This piece is about broken people and the people who are willing to use their own emotional resources to help them heal,” Nikaidoh says. “For me, it wasn’t the people who told me everything would be ok that really helped, but those people who came in and just did life with me every single day. I chose the title Bloom because that word symbolizes what is possible after the healing is done.”
Nikaidoh explains that the work takes place in a room and the individuals coming in are there to help heal those already in the space from whatever tragic event has lead them there. With that said the piece not only challenges the dancers technically, but emotionally as well. Instead of the stoic expressions commonly associated with modern dance the eight dancers in the piece express a number of conflicting emotions, including anger, frustration, sadness, acceptance and hope, which when combined with Nikaidoh’s lovely musical phrasing and unexpected movement choices, tells a story everyone can relate too.
To help bring her vision to fruition, Nikaidoh enlisted the talents of Dallas-based visual artist and AURORA co-founder Shane Pennington. Pennington was a recipient of the New Dallas Nine award from D Magazine and has exhibited internationally at the Paddington Contemporary Gallery in Sydney, Australia and at Sur la Montagne in Berlin.
Not wanting to give too much away, Nikaidoh says Pennington’s contributions have included a stage design and film that present the illusion the dancers and audience are in an actual room. She does share with me one of her favorite projections which is a floor to ceiling window that overlooks a city scene. “We really wanted to make you feel like you’re looking out this window from inside the room.”
When asked what the hardest part of this process has been, Nikaidoh paused for beat before saying it has been figuring out when to rely on the dancers’ strengths and when to test them movement wise. “Bruce was good at knowing when to use our strengths and when to push us. In the past I have changed movement that felt unnatural to the dancers, but in this piece I kept some of the unnatural movements anyways because I want the dancers to always be growing.” One example of this unnatural movement occurs after the dancers perform a series of winding body movements in one direction and then have to reverse the entire phrase without losing their momentum.
The choreography is mostly comprised of non-stop spiraling floor work and traveling movement, staccato arm gestures, collapsed body positions and naturally evolving partnering skills. When I commented that the dancers make the complicated partnering sections of this piece look effortless Nikaidoh says, “That’s because the partnering in this piece was very much a collaborative effort between me and the dancers. I would ask the dancers where they wanted to go next with the movement, which is something Bruce would always ask us in rehearsal.” This explains why the partnering sections come across as one continuous line of thought instead of a bunch of static shapes and choppy transitions. One example is when Emily Perry crawls through the legs of Albert Drake who proceeds to grab her ankles as he executes a forward roll landing on his back, which sets him up to catch Perry as she falls backwards. Another example is when Brock James Henderson spins Joy Atkins Bollinger around in small circles as she opens herself up into a starfish shape with her feet just skimming the floor.
You can see Bloom along with Bruce Wood’s classic No Sea To Sail In and Katarzyna Skarpetowska’s new work Klezmer Rodeo at the company’s SIX performance at the Dallas City Performance Hall this weekend.
Texas Ballet Theater expands its stylistic range in Val Caniparoli’s new work Without Borders, part of the company’s First Looks Series in Dallas this weekend.
It’s not a coincidence that Texas Ballet Theater principal dancer’s Leticia Oliveira and Carl Coomer look like a pair of figure skaters just skimming the floor in a series of petite traveling lifts in American choreographer Val Caniparoli’s new work, Without Borders. “A lot of what I do has been inspired by ice skating or classical ballet or by working with African dance consultants in Lambarena and that has stuck with me over the years,” Caniparoli says.
Originally from Renton, Washington, Caniparoli opted for a professional dance career after studying music and theater at Washington State University. He received a Ford Foundation Scholarship in 1972 that allowed him to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He became resident choreographer there, and later with Tulsa Ballet. Today, Caniparoli is one of the most sought after American choreographers in the United States and abroad, having set works on more than 35 dance companies, including the Joffrey Ballet. Caniparoli has also choreographed for many notable Opera houses in the U.S., including Chicago Lyric Opera, San Francisco Opera and the Metropolitan Opera.
Caniparoli’s musical background plays a pivotal role in his creative process and is one of the most appealing aspects of his work. “I have studied music and theater all my life and fell into ballet when I was 20 so, it’s natural for me to create movement that is being dictated by the music.” I saw this firsthand back in September when I sat in one of his rehearsals with Coomer and Oliveira and later the full company for his piece Without Borders, which will have its world premiere at TBT’s First Looks Series May 6-8 in Dallas and May 27-29 in Fort Worth.
Most of the critiques Caniparoli gave to Coomer and Oliveira during rehearsal pertained to their musical timing and movement quality. “You have to fill out every count of the music,” Caniparoli tells the couple on one adagio section. “You also have to be very specific when counting the eights. This is a fast eight counts that moves into a slower tempo.” This last note was in reference to a particularly tricky lift where Oliveira coiled around Coomer’s upper body coming to a stop with her hips settled into the crease of his neck before slowly sliding down his body. Caniparoli switched places a few times with Coomer and Oliveira in order to help them get the right feel of the movement, which he illustrated with subtle head and arm gestures as well as slight weight changes during lifts. I found out later from Caniparoli that it is not unusual for him to get up and demonstrate certain choreography and partnering skills with the dancers he is working with. “I like to be very hands on with the dancers because as a dancer myself I liked working with choreographers who did allow the dancers to have a voice in the process. I learned early on that if you respect the dancers then they will respect you back.”
The music Caniparoli has chosen for the piece, a blend of tracks from Yo-Yo Ma and the Silk Road Ensemble’s 2013 album entitled A Playlist Without Borders, features a number of ethnic sounds, including African, Irish and Arabic and was also inspiration for the name of the work. “I wanted music with a lot of variety that would then be reflected in the movement as well as the costuming and lighting.” While the work doesn’t follow a particular theme, Caniparoli says he did use the musical explanations included in the CD, which described how the composers felt about each piece of music, as a basis for the choreography and inspiration for the dancers’ personal performances. “You don’t have to understand what my intentions were to enjoy this piece. I just want people to love the dancers, music, costuming, lighting and such, and not get too wrapped up in finding the meaning in everything.”
He continues, “I was just so inspired by Yo-Yo Ma’s ability to connect with all these traditional ethnic instruments and combine them in a unique East meets West way in these ensemble tracks. Whereas Lambarena focused more on war and unrest in other countries, in Without Borders I am trying to connect countries through music in a very uplifting and positive way.”
You can experience the music and movement of Val Caniparoli’s new work Without Borders for yourself when Texas Ballet Theater performs it at Dallas City Performance Hall this weekend as part of the company’s First Looks Series. The program also includes Glen Tetley’s Voluntaries and the company’s premiere of Ohad Naharin’s Minus 16. TBT will repeat the program at Bass Performance Hall in Fort Worth later this month.
The director of Electric Company Theatre on working with Choreographer Crystal Pite to explore the effects of PTSD in Kidd Pivot’s Betroffenheit, presented by TITAS at Dallas City Performance Hall.
Dallas — Audiences are in for something different when TITAS presents two of Canada’s most groundbreaking performing arts companies, Kidd Pivot and Electric Company Theatre, in a one-of-a-kind dance theatre experience this Thursday and Friday evening at Dallas City Performance Hall. The name of the work, Betroffenheit,is a German word that describes the shock or bewilderment that often follows in the wake of a violent or distressing event. In English it is loosely translated to mean “shock” or “a loss for words.” By combining text, design, story and dance, renowned choreographer Crystal Pite and Electric Company Theatre Artistic Director Jonathon Young hope to heighten the emotional state of their audiences as it pertains to the troubling aspects of post-traumatic stress disorder (PTSD). The 120-minute work also features strobe-like effects, non-toxic theatrical haze, adult themes and coarse language.
Crystal Pite is a Canadian choreographer best known for her keen wit, brazen movement choices and theatrical flair. A former company member of Ballet British Columbia and William Forsythe’s Ballet Frankfurt, Pite made her choreographic debut in 1990, and since then has created more than 40 works for dance companies all around the globe, including Nederlands Dans Theatre, The National Ballet of Canada and Cedar Lake Contemporary Ballet, to name a few. Pite is associate choreographer of Nederlands Dans Theatre I and Associate Dance Artist of Canada’s National Arts Centre. She was also appointed associate artist at Sadler’s Wells in London in 2013. Since 2002 her dance troupe, Kidd Pivot, has been racking up critical acclaim both nationally and internationally with its unique blending of classical and contemporary movements, breathtaking physicality and strong theatrical sensibility.
Jonathon Young is a Canadian actor best known for his role of Nikola Tesla on the SyFy show Sanctuary. His other acting credits include The Fog, Eureka and Stargate Atlantis. He is a graduate of the Studio 58 theatre school at Langara College and is a multiple Jessie Richardson Theatre Award Winner. Young is currently the artistic director of the Vancouver-based Electric Company Theatre, which he formed alongside fellow theatre school peers Kim Collier, David Hudgins and Kevin Kerr in 1996. What started out as a creative outlet for these young actors, directors and playwrights has quickly grown into one of Canada’s leading creators of live theatre. Over the last two decades Electric Company Theatre has created 21 original productions, including Betroffenheit, Tear the Curtain!, No Exit, Studies in Motion,Brilliant! and the feature film The Score. The Company has toured throughout Canada, to the U.S. and the U.K., and is also the co-founder of Progress Lab 1422, a 6,000-square-foot theatre creation space in Vancouver.
TheaterJones asks Jonathon Young about the evolving performing arts scene in Vancouver, coming up with the concept for Betroffenheit and bringing all the visual and technical elements together with the help of Crystal Pite.
TheaterJones: What does Betroffenheit mean? How did you come up with the concept for the production?
Jonathon Young: I found the word in a book called “Then We Act” by American Theatre Artist Anne Bogart. Betroffenheit is a German word that describes a state of being in the wake of a traumatic event. In English we say “shock” or “speechless” or “being at a loss for words.” In Anne Bogart’s definition of the word she said it’s “a fertile and palpable silence….where language ceases and only the limits of language can be taken in.” So, on one level the word describes a tension between speech and action, which seemed perfect for a dance/theatre hybrid. Also, because there is no equivalent word in English, because it doesn’t translate, it seemed a very good title for a show about PTSD. It’s a big, mysterious word; bewildering and foreign, and that’s one of the troubling aspects of post-traumatic stress disorder: people who suffer from it feel “outside” life, they become cut off from others, it feels foreign and it’s very hard to describe to others what’s happening. I’ve never had it though, this is all from my research.
Can Dallas audiences expect to be taken on a more sensory or emotional journey during the production?
I would hope that the show would provide both a sensory and emotional experience for audience members. It is a personal and human story with thrilling technical elements.
All art forms struggle to find a balance between artistic expression and general accessibility. Do you think you and Pite found that balance in Betroffenheit? Can you give me a couple of examples?
Audiences who have seen the show so far seem to be “getting it” if that’s what you mean. It’s communicating a very specific story and yet, because it relies heavily on the more abstract expression of pure dance, there is plenty of room for interpretation. We’ve tried to stage the bewildering experience of PTSD, which involves something called “re-experiencing” (basically flashbacks that come without warning and seem very real). We’ve attempted to disorder the narrative structure in the same way that trauma can disorder reality. All this to say that there are some passages of Betroffenheit where an audience member who is expecting a very linear experience might feel lost or confused. But I suspect much of our audience is coming prepared to see a work of contemporary dance, and thus, isn’t going to be looking for a traditional scripted narrative.
Have you worked with Crystal Pite on previous projects? What makes her and her dancers such a good fit for this production?
I have worked with Crystal twice before. Electric Company hired her to do choreography for a play and a feature film that had dance sequences. This is the first time we’ve made something from scratch together. The Kidd Pivot dancers are not only rock star contemporary dancers, they’re also really good actors. I’m in awe of them all. I’d trust them with my life.
How did you and Pite go about blending the story, text, theatrics and movement in the show? Did you have any say when it came to Pite’s choreographic choices and vice versa?
Crystal and I just started talking. I sent her some writing that depicted a kind of dramatic zone disordered by an event in the past. She asked questions, responded with images, thought about design ideas and various characters, and then asked a bunch more questions. I would go away and write some more. Sometimes dialogue, sometimes stage directions that described specific action. We wanted to create a world where language and physicality were two essential halves of one whole. I started recording dialogues I’d written very early on and Crystal started using those recordings as a kind of music for the dancers to move to. We worked together every step of the way to find the right balance between text, design, story and dance. She collaborated on all the writing and there is even one scene written by her. The choreography is all Crystal, but we talked endlessly about the overall shape and structure, the progression of events. It was probably the most thrilling and daunting collaborations of my career. The material is quite dark, but the process was often quite joyful.
How would you describe the movement inBetroffenheit? Pedestrian? Modern-based? Athletic? Lyrical?
There’s contemporary dance, salsa, tap dancing, clown, soft shoe numbers, slapstick routines, puppetry… and then some straight up acting too.
What led you along with Kim Collier, David Hudgins and Kevin Kerr to form the Electric Company Theatre?
We got out of theatre school in Vancouver in the mid 90’s and had some very specific ideas about what we thought theatre could be, and I guess we felt like we weren’t seeing it being done anywhere, so we decided to do it ourselves. We were young and brimming with energy and ideas, and also the four of us had really different skill sets so together we were able to carve something out of nothing. I really learned to write from Kevin and David. Kim became a director by doing it. We just made it up as we went along. And I guess in many ways we still are.
How competitive is the performing arts scene in Vancouver today?
It’s a relatively small city, so there isn’t a whole bunch of opportunity for actors and directors and designers. A handful of companies to work for, and no real commercial scene to speak of, but there is a strong indie scene and the city still has that kind of DIY spirit that produces a really eclectic, smart, outlandish brand of theatre.
How has the performing arts scene in Vancouver evolved since starting Electric Company Theatre in 1996?
The city is constantly growing and changing. There’s many, many extraordinary artists living here working in visual arts and music and there’s a strong film and television industry. We have a thriving Shakespeare Festival, a fantastic annual performing arts Festival called PUSH that brings in shows from all over the world, and a great annual dance series called Dance House. It’s a cool place to live and produce work, but I also feel that it’s so important to leave, go elsewhere and see what other people are up to.
Dallas Youth Ballet channels The Rockettes in its highly entertaining Rockefeller Christmas Spectacular at Dallas City Performance Hall.
Dallas — While most pre-professional dance companies in the area are focusing solely on their balletic form during this time of year the Dallas Youth Ballet, comprised of students at Park Cities Dance (PCD) and The Dallas Conservatory, is honing a wide range of skills from acting and singing to Broadway, contemporary and ballet dance stylings, which the company efficiently and enthusiastically put on display at its seventh annual Rockefeller Christmas Spectacular at Dallas City Performance Hall on Sunday.
The Rockettes-inspired dances and festive Christmas caroling in the first half were a welcomed reprieve from the multiple Nutcrackerproductions currently being offered across Dallas-Fort Worth. Choreographer and PCD Artistic Director Jacqueline Porter and her band of Santas, soldiers, elves, ballerinas and candy canes set the pace for the show with a fun and flashy opening number entitled A Rockefeller Christmas. Dressed in sparkly red dresses edged with white faux fur and donning black character shoes, the 10 Santa dancers did a commendable job of channeling the Radio City Music Hall Rockettes with their regimented formations, clean upper body lines and clear foot work as they mined classic tap moves, including time steps, drawbacks and Shirley Temples (also known as Broadways). Audiences actually felt like they were at Rockefeller Center thanks to a vibrant backdrop Porter was able to rent, thus completing the overall effect of a New York Christmas.
The acoustics in the Dallas City Performance Hall did a nice job of picking up the Dallas Conservatory’s Children’s Singing Ensemble sweet harmonies and distinct enunciation as they charmed audiences with some fun holiday ditties, including “The Man with the Bag,” “All I Want for Christmas” and “White Christmas.” Music Director Lynn Ambrose also incorporated some basic tap steps in “The Man with the Bag” and cutesy gesturing in “All I Want for Christmas.” Student Allyson Guba also showed dynamic range and stage presence as she sang a hauntingly beautiful version of “Christmas Lullaby.”
In “Santa Claus is Coming to Town,” the 10 dancers’ showcased an abundance of shakes, shimmies and sass so as to not be outdone by the song’s energetic pace and bold musical accents. In today’s dance world where tricks and flexibility are taking priority over strength building and technical foundation work, audiences were pleased to see simple jazz walks, sharp flicks and kicks and a variety of beveled foot poses scattered throughout the routine.
In Cool Yule 10 dancers performed an exuberant 42nd Street-inspired number complete with shimmery dresses and character taps and featuring classic tap steps, including running flappes, wings, drawbacks and time steps. And while slightly darker than the other numbers with its aggressive contemporary movements and relentless running patterns, Clair Culin’s Pursuit kept inside the Christmas genre with a fast-tempo instrumental version of “Carol of the Bells.”
Choreographers Porter, Culin, Haylee Bargainer and Olga Pavlova had the daunting task of blending multiple skills levels into the second half of the show, which started with Act 2 of The Nutcracker where Clara enters the Sugar Plum Palace and ended with the Sugar Plum Fairy (Rachel Rohrich) and Cavalier’s (Arron Scott, American Ballet Theatre) grand pas de deux. Bargainer accomplished this feat with simple tendues, plies, and epaulement arm gestures for the itty bitty dancers in the Spanish, Arabian and Chinese corp roles. The result was a darling mass of clumsy cuteness adorned with sparkly costumes and tiaras.
The Snowflakes’ movement in the opening number of the second half lacked some of the bounciness and rhythmic nuances typically associated with this dance segment, but the dancers made up for this with some lovely cascading arms gestures and interweaving pathways and alternating circular formation changes. And while her pointe work came across clunky at times, particularly in the landings of her jumps, Julie Shilling did display impressive musical timing and technical fortitude in her consecutive pique and chaine turns in her Snow Queen solo.
Kali Kleiman’s nimble feet and angelic features made her an ideal choice for the role of Clara. Her natural grace and childlike giddiness showed through her fluttering bourrées and springy petit jumps and jete leaps.
The Arabian, Russian and Chinese variations were clean, yet not as choreographically imaginative as some of the other dances in the show. Margot Tortolani (age 14) did an admirable job as the Dew Drop Fairy, drawing out the musical phrases with slow descending arms in her tour jetes and travelling balances as well as her leg lines inarabesque. The flower corp, including company members Claira Russell, Dani Van Creveld, Eden Ryder, Emma Odom, Michelle Arriaga, Summer Sexton, Taylor Waller and Shilling executed some of the most challenging technique of the night with multiple turning sequences and constantly changing epaulement positions to complement their crisp pointe work.
The biggest surprise of the night was 14-year-old Rohrich’s professional-quality interpretation of the Sugar Plum Fairy. Rochrich’s airy arm movements and punctuating pointe work were enhanced by Scott’s trusting presence and strong hand holds in the partnering sections. And while Rohrich could have used her breath more to release some tension in the shoulders, she stayed rhythmically invested in the movement even after her music cut out during her solo.
Avant Chamber Ballet gets into the holiday spirit with Nutcracker: Short and Suite at Dallas City Performance Hall this Thursday.
Dallas — Audiences disappointed in the fact Texas Ballet Theater will not be bringing its Nutcracker production to the Winspear Opera House this season can find some solace in Avant Chamber Ballet’s (ACB) equally skillful, yet a little less traditional take on the holiday classic this Thursday at the Dallas City Performance Hall. Boasting a 35-minute running time, ACB’s Nutcracker: Short and Suite features some of our favorite dance segments from the second half of the beloved production, including Spanish Chocolate, Arabian Coffee, Chinese Tea, the Marzipans, Russian Trepak, Candy Canes, Waltz of the Flowers and the grand pas de deux with the Sugar Plum Fairy and Cavalier. And with live accompaniment provided by Bishop Arts Brass and Saule Garcia on piano there is really no other Nutcracker production like this one being offered in North Texas.
With her long, lethal legs, regal stature and precise point work, Yulia Ilina seems designed to play the role of the Sugar Plum Fairy. During last week’s rehearsal at Park Cities Dance in Dallas I looked on as Ilina and Artistic Director Katie Cooper make some tiny changes to her solo in order to keep everything musical according to Cooper. This phrase becomes Cooper’s mantra when she is giving notes in between each dance section. In Ilina’s case it means taking out the little arabesque half turn before a bourrée or adjusting the timing of arm gesture to more closely match the nuances in Tchaikovsky’s well known score. Cooper also tweaks Ilina’s epaulementplacement in certain spots to draw more attention to her lines. Cooper puts Eugene Barnes and Ilina’s endurance levels to the test with two rock solid press up lifts in the grand pas de deux, with the last one ending in a fish bowl dip with Ilina’s legs wrapped around Barnes’ middle. Newcomer Barnes demonstrated great strength and extension in his rotating jete series and sautés while veteran Ilina hit every move in her part, including the 16 downstage progressing fouettes, with melodic fervor and refined execution.
From here on out it was one technically enchanting and visually exciting dance after another. Most choreographers have a hard time working with odd numbers, particularly trios, but Cooper is always finding new ways for the dancers to interact with one another and her signature circling patterns and linked arm movements were present in both the Spanish Chocolate and Marzipan numbers. Madelaine Boyce and Kaitlyn McDermitt showcased their amazing stamina and unbreakable form in their roles as Chinese Tea and Trepak while Megan Van Horn will mesmerize viewers with her fluid body isolations and lingering floor splits in the Arabian dance.
Cooper breathes new life into the Waltz of the Flowers ensemble piece with dynamic crisscrossing jete passes, petitallegro jumps incorporating multiple beats and directional changes with epaulement as well as brain teasing formation changes. The section where all ten dancers morph from a circle into a star-shape that they then rotated clockwise while performing quick-moving waltz steps was particularly impressive. The group’s meticulous timing and Juliann McAloon’s zealous fouette turns near the end are also sure to leave you feeling breathless.
The evening will also include Cooper’s Sleigh Ride which is comprised of shorter dances performed to Chris Coletti’s Bach’s Bells and instrumental versions of classic holiday songs, including “O Tannenbaum,” “Hark the Herald Angels Sing,” “What Child Is This” and, of course, “Sleigh Ride.”
» Avant Chamber Ballet’s Holiday Celebration takes place Dec. 10 at 8 p.m. at Dallas City Performance Hall. Tickets are available at www.ticketdfw.com
Get into the holiday spirit with any one of these Nutcracker productions, from the traditional to Nearly Naked, offer across Dallas-Fort Worth. Plus a list of other holiday dance.
It’s that time of year again! In between all the shopping, decorating and baking you have planned this holiday season make sure you set some time aside to check out one of the numerous Nutcracker productions being offered by many of the professional and pre-professional dance companies across Dallas-Fort Worth. For audiences west of the DFW Airport, Texas Ballet Theater will be running Ben Stevenson’s version of The Nutcracker for multiple weekends at Bass Performance Hall in Fort Worth. Additionally, Ballet Frontier of Texas and North Central Civic Ballet will be presenting their annual Nutcracker performances at Will Rogers Auditorium.
For residents north of Dallas there are myriad Nutcrackers to choose from, including versions by LakeCities Ballet Theatre in Lewisville, Festival Ballet of North Central Texas in Denton, and Allen Civic Ballet in Allen. The Eisemann Center for Performing Arts in Richardson, will soon be bursting with holiday cheer when Chamberlain Performing Arts, Dallas Repertoire Ballet, Royale Ballet Dance Academy, Tuzer Ballet and Collin County Ballet Theatre bring their Nutcracker productions here beginning Thanksgiving weekend and continuing till Christmas. The Irving Arts Center is another popular venue for local Nutcracker productions, including versions by Ballet Ensemble of Texas, International Ballet Theater and Momentum Dance Company. And in Dallas the Moscow Ballet returns to McFarlin Auditorium at Southern Methodist University with its rendition of The Great Russian Nutcracker, featuring new costumes and set designs.
You can even hear Tchaikovsky’s full Nutcracker played by the Dallas Symphony, without dancers, if you’re so inclined.
And if you are in need of a change this season, check out any number of the holiday dance shows being offered, including Avant Chamber Ballet’s Holiday Celebration at Dallas City Performance Hall; Epiphany DanceArts Tis the Season at the Eisemann; Texas Ballet Theater’s The Nutty Nutcracker at Bass Performance Hall; and even a burlesque show in Dallas aptly named Nearly Naked Nutcracker. A full list of all the Nutcrackers and holiday productions in the area can be found below.
Nov. 20-21 Ballet Frontier of Texas presents The Nutcracker with choreography by Chung-Lin Tseng at Will Rogers Auditorium in Fort Worth. $40-$50. Call 817-689-7310 or visit www.balletfrontier.org
Nov. 20-22 Moscow Ballet return to Dallas with its rendition of The Great Russian Nutcracker at Southern Methodist University’s McFarlin Auditorium. This year’s production features new costumes for Act I by designer Arthur Oliver and two new backdrops by Academy Award Nominee Carl Sprague. $28-$88. Call 800-745-3000 or visit www.tickmaster.com
Nov. 27-29 Chamberlain Performing Arts annual showing of The Nutcracker featuring New York City Ballet Principal’s Tiler Peck and Tyler Angle at the Eisemann Center for Performing Arts in Richardson. $15-$100. Call 972-744-4650 or visit www.eisemanncenter.com
Nov. 27-29 Momentum Dance Company brings the holiday tale to life with choreography by Jacquelyn Ralls Forcher at the Irving Arts Center. $15-$25. Call 972-252-2787 or visit www.irvingartscenter.com
Nov. 28-29 LakeCities Ballet Theatre celebrates its 25th annual production of The Nutcracker which features live music from Lewisville Lake Symphony and guest artists Sarah Lane of American Ballet Theater and Daniel Ulbricht of New York City Ballet. $20-$45. Call 972-317-7987 or visitwww.lakecitiesballet.org
Dec. 4-6 Dallas Ballet Company presents The Nutcracker featuring guest artists April Daly and Miguel Blanco from Joffrey Ballet at the Granville Arts Center in Garland. $23-$24. Call 972-205-2790 or visit www.garlandarts.com
Dec. 5 Local dancers Harry Feril (Bruce Wood Dance Project) and Yulia Ilina (Avant Chamber Ballet) join theInternational Ballet Theater for its production of The Nutcracker Sweet at the Irving Arts Center. $28-$38. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 5-6 Ballet Ensemble of Texas, under the direction of Joffrey alum Lisa Slagle, presents the holiday classic at the Irving Arts Center. $25-$30. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 5-6 Rowlett Dance Academy presents its 14th annual production of The Nutcracker at Garland High School. $10. Call 972-475-8269 or visit www.rowlettdanceacademy.com
Dec. 5-6 Royale Ballet Dance Academy offering of The Nutcracker at the Eisemann Center for Performing Arts in Richardson. $20-$25. Call 972-744-4650 or visit www.eisemanncenter.com
Dec. 5-6 North Central Civic Ballet’s rendition of The Nutcracker at the Will Rogers Auditorium in Fort Worth. $30. Visit www.nutcrackertickets.com
Dec. 5-10 New York City Ballet brings George Balanchine’s The Nutcracker to the big screen in various movies across the DFW Metroplex. $16-$18 Adult. Visit www.fathomevent.com
Dec. 11-27 Texas Ballet Theater takes the stage with Ben Stevenson’s version of The Nutcracker at Bass Performance Hall in Fort Worth. Call 877-828-9200 or visit www.texasballettheater.org
Dec. 11-13 Dallas Repertoire Ballet brings its rendition of the beloved holiday tale to the Eisemann Center for Performing Arts in Richardson. $22-$42. Call 972-744-4650 or visitwww.eisemanncenter.com
Dec. 12 Colleyville Ballet’s production of The Nutcracker for one-night only at the Irving Arts Center. $25-$30. Call 972-252-2787 or visit www.irvingartscenter.com
Dec. 12-13 Festival Ballet of North Central Texas showing of The Nutcracker at Texas Woman’s University, Margo Jones Performance Hall in Denton. $11-$36. Call 940.891.0830 or visit www.festivalballet.net
Dec. 19-20 Tuzer Ballet presents The Nutcracker with guest artists Rie Ichikawa (Boston Ballet) and Zack Grubbs (Cincinnati Ballet) at the Eisemann Center for Performing Arts in Richardson. $15-$50. Call 972-744-4650 or visitwww.eisemanncenter.com
Dec. 19-20 The Allen Civic Ballet presents its annual production of the holiday classic with live musical accompaniment by the Allen Philharmonic Chamber Orchestra at the Allen High School Performing Arts Center in Allen. $15-$25. Visit www.allencivicballet.org/nutracker
Dec. 19 The Art Ballet Academy presents The Nutcracker at Mansfield ISD Center for the Performing Arts, Mansfield. $16. Visit www.abacademy.com
Dec. 22-23 Collin County Ballet Theatre’s annual production of The Nutcracker features live music from Plano Symphony Orchestra at the Eisemann Center for Performing Arts in Richardson. $22-$77. Call 972-744-4650 or visitwww.eisemanncenter.com
OTHER HOLIDAY DANCE
(including non-traditional takes on The Nutcracker)
Nov. 19 Avant Chamber Ballet returns to White’s Chapel United Methodist Church in Southlake with its holiday production of Nutcracker: Short and Suite. This one-act Nutcracker presented by Apex Arts League includes new choreography by Katie Cooper and music by Tchaikovsky. $15-$20. Call 800-481-8914 or visit www.apex-arts.org
Nov. 27-29 The Dallas Symphony Orchestra plays Tchaikovsky’s complete The Nutcracker (no dancers), and featuring the Children’s Chorus of Collin County, at the Meyerson Symphony Center, Dallas. Call 214-692-0203 or visit www.mydso.com
Nov. 27-Dec. 27 MBS Productions presents its annual hit The Beulaville Baptist Book Club Presents a Bur-Less-Q Nutcracker, in which a church has to do a last minute substitution of its dancers for The Nutcracker, at the Addison Theatre Centre’s Studio Theatre. $29. Call 214-477-4942 or visit www.mbsproductions.net
Dec. 6 8&1 Dance Company closes its third season with In The Spirit, featuring live music and heart-warming chorography at the Quixotic Word in Dallas. Visit www.8and1dance.com
Dec. 6 Dallas Youth Ballet presents a Rockefeller Christmas Spectacular at Dallas City Performance Hall with special guest Arron Scott from American Ballet Theatre. $20-$75. Visitwww.parkcitiesstudios.com
Dec. 10 Avant Chamber Ballet’s Holiday celebration at Dallas City Performance Hall incudes Katie Cooper’s Sleigh Ride and Nutcracker: Short and Suite. $20-$30. Visit www.ticketdfw.com
Dec. 11-12 Bruce Wood Dance Project presents a Christmas Cabaret benefit with Broadway stars Aaron Lazar, Liz Callaway and Joseph Thalken, at the BWDP Studio, 3630 Harry Hines Boulevard, Suite 36, Dallas. $350-$1,000. Call 214-428-2263 or visit www.brucewooddance.org
Dec. 12 Ballet Concerto presents its annual A Holiday Special at Will Rogers Auditorium in Fort Worth. The program includes Winter Wonderland, The Princess and the Magical Christmas Star, O Holy Night and A Cool Yule. $8 for daytime performances and $12-$25 for the evening performance. Call 817-738-7915 or visit www.balletconcerto.com
Dec. 12 Contemporary Ballet Dallas offers their spin on Charles Dickens’ classic tale with Boogie Woogie Christmas Carol at McFarlin Memorial Auditorium on the Southern Methodist University campus. $18-$30. Visitwww.contemporaryballetdallas.com
Dec. 18 Texas Ballet Theater brings The Nutty Nutcracker, its PG-13 spoof of The Nutcracker, to Bass Performance Hall for one night only. $40-250. Call 877.828.9200 or visit www.texasballettheater.org
Dec. 18-19 Epiphany DanceArts celebrates the holiday season with its production of Tis the Season at the Eisemann Center for Performing Arts in Richardson. $17-$27. Call 972-744-4650 or visit www.eisemanncenter.com
Dec. 19 Broads & Panties presents Nearly Naked Nutcracker: A Burlesque Ballet featuring aerial performances, circus arts, ballet and burlesque at Trees in Deep Ellum. $20-$44. Visit www.treesdallas.com
Dec. 19-20 Denton City Contemporary Ballet presents A Gift for Emma at Margo Jones Performance Hall at Texas Woman’s University, Denton. $15-25. Call 940-383-2623 or visit www.dentoncitycontemporary.org
Dec. 19-20 ImPULSE Dance Project celebrates the season with Snow at the Medical Center of Lewisville Grand Theater. Program includes works by Artistic Director Anastasia Waters and company members Krista Langford and Kristin Daniels. $17. Visit www.impusedanceproject.org
The Dallas native on finding her stride as a concert dancer and performing with Kyle Abraham’s Abraham.In.Motion which comes to town this weekend on the TITAS season.
Dallas — As the recipient of a 2013 MacArthur Fellowship as well as a 2010 Princess Grace and Bessie award for performance and choreography, it’s no wonder Kyle Abraham was recently dubbed the darling of the dance world by Dance magazine. Abraham started his training at the Civic Light Opera Academy and the Pittsburgh Creative and Performing Arts School. He holds a BFA in dance from SUNY Purchase and an MFA from the New York University (NYU) Tisch School of the Arts. His performing credits include David Dorfman Dance, Bill T. Jones/Arnie Zane Dance Company, The Kevin Wynn Collective, Nathan Trice/Rituals, Dance Alloy and Attack Theatre. For the last nine years his company Abraham.In.Motion has been captivating audiences across the U.S. and abroad with its provocative movement choices and strong social messages reflecting on current issues and attitudes.
Abraham’s raw approach to movement and eclectic dance background, which includes modern and hip-hop was a huge draw for Dallas native Catherine Ellis Kirk who joined his company two years ago. A graduate of Booker T. Washington High School for the Performing and Visual Arts, Kirk went on to earn her BFA in dance from NYU Tisch School of the Arts. She has also studied with Movement Invention Project, San Francisco Conservatory of Dance, the Gaga intensive in Tel Aviv and Springboard Danse Montreal, and has performed works by Fernando Melo, Ohad Naharin, Peter Chu, Andrea Miller, Robert Battle, Alex Ketley and Helen Simoneau. In addition to Abrham.In.Motion, Kirk also currently dances for Chihiro Shimizu and Artists and UNA Projects.
Kirk and Abraham.In.Motion will both make their Dallas debut Oct. 29-30 at the Dallas City Performance Hall as part of TITAS’ 2015-16 season. The program includes Abraham’s The Quiet Dance (2011), The Gettin’ (2014) and the world premiere of Absent Matter with live music.
Catherine Ellis Kirk talks to TheaterJones about finding her artistic voice, Kyle Abraham’s creative process and her take on his new work Absent Matter.
TheaterJones.com: What initially drew you to concert dance?
Catherine Ellis Kirk: At Booker T. I took a lot of composition and improvisation classes so I knew pretty fresh off the gate that I wanted to join a modern company and be in New York if not Europe.
Why did you chose to attend New York University vs. pursuing a dance career after high school?
I never considered cutting off my education after high school. I have always loved dance, but I have also always craved more of an academic lifestyle. For my community of concert dancers it’s more of a conservation about whether you wanted to go to a university or conservatory. I tried a couple of conservatories, but I knew I needed something else aside from dance so I studied Political Science and Art History at New York University (NYU) as well. And looking back I definitely needed those three years of training at NYU to discover my voice in dance and how I wanted to move.
Can you give me some examples of individuals or classes that have helped you define your artistic voice?
Many of my “ah ha” moments came from being at Booker T. where I took composition classes with Kyle Richards and Lily Weiss as well as modern with Garfield Lemonius. While taking these classes I decided that I could put my life and my work and passion into these forms of dance, and going to NYU really seasoned that for me. I had so many amazing teachers at NYU, including Pamela Pietro, who taught me modern and composition my second and third year there.
What stood out to you the first time you saw Kyle Abraham perform?
The first time I saw Kyle dance was at Dance Space in New York where he performed an excerpt from one of his solos and I was immediately drawn to his unique movement style. He moves so organically and there’s a wide variety of techniques that he is influenced by such as house dancing, hip-hop, Martha Graham and Merce Cunningham. His movement is also very contemporary and looks very improv based, so it comes out of him very organically. There’s always an openness to his movement with lots of high arches and speed, but also just very human moments and almost a sense of acting that comes across very raw. I see all of this in Pavement, which I saw for the first time in fall 2013 right after superstorm Sandy hit. Pavement has a very direct purpose in that it talks about Kyle’s neighborhood growing up and that urban lifestyle in which race and economic classes play a pivotal role. Watching all these beautiful people dancing onstage together and having the same movement quality that Kyle does was really astonishing and I just fell in love with this work.
What is it like working in the studio with Abraham?
It’s super interesting! It is pretty improv based so he’ll start moving while someone films it and then gives us the tape and we’ll learn it from there. Other times he’ll do a catch what you can thing where he dances in front of us and we pick up what we can. He moves very fast and organically and habitually. It’s also nice to have us in the room because we all interpret the movement differently so we don’t use the same movement vocabulary over and over.
Do you and the other company members have similar dance backgrounds and training?
Our backgrounds are quite varied. I probably have the least technical training. I am much more composition and modern than balletic. There’s Tamisha Guy who went to SUNY Purchase College and is technically stunning with a background in ballet, pointe and modern. Penda N’Diaye went to NYU before I did and she also has a background in ballet and her and Guy both have beautiful lines. Connie Shiau also went to SUNY Purchase but she also trained in Gaga and works with Gallim Dance, which is just very wild, deep and grounded. The boys are also all very different. Jeremy Neal was a classical singer who started dancing in college, but had danced a lot in the club scene and house, which is very similar to Kyle’s journey. Matthew Baker went to the same college as Jeremy in Michigan, but he started out in gymnastics and then went into dance when he was younger to help him get more flexible. And then we have Vinson Fraley who is just stunning and started dancing when he was 16 at a competition studio so he is all legs and turns. Our careers and lives have taken us into different places, which kind of helps the variety, but it’s also nice because you look around the room and see different skin colors, heights and body types so the movement never gets too habitual or boring.
What is your interpretation of Abraham’s new work Absent Matter?
Absent Matter was actually choreographed before Kyle brought in the live music which includes songs by Kendrick Lamar and Kayne West. For the piece Kyle pulled a lot of inspiration from the Black Lives Matter campaign and also his feelings on cultural appropriation. Being in his late 30’s he has seen things that are just completely being lost in their origin. For example, cornrows which are just plaited hair that women in Africa wore to keep their hair out of the way is now being used on the fashion runways which is great, but it’s being renamed a French twist or French braid. That’s a lighter example, but it all goes back to cultural appropriation and Kyle feeling that as African-Americans we are losing our voice. So, there is definitely a nostalgia and a large sense of anger and riot in the work which feels much more present day than The Gettin’ which will come after. The Gettin’ feels more like a pre-riot gathering while Absent Matter feels more current to me with the Black Lives Matter Campaign and any culture aside from African American just getting lost or abused or not being recognized. Kyle’s very angry about that and it shows through this work.