Tag Archives: Dallas Dance

Q&A: Daniel Ezralow

The world-renowned choreographer on breaking dance traditions using movement and visual arts and his company’s Dallas debut on the TITAS Presents series.

Daniel Ezralow’s Open. Photo: Angelo Redaelli/Ezralow Dance

Dallas — Since its inception in 2014, Ezralow Dance has garnered a reputation both in the U.S. and abroad for its explosive physicality, original thought and playful humor, which all stem from the mind of artistic director and choreographer, Daniel Ezralow. The Los Angeles-based company is comprised of nine dancers performing works that mingle contemporary dance with humor, provocative ideas and impressive video projections. The company also aims to collaborate with performers, composers, visual artists and filmmakers to transport audiences to new dimensions, exploring and questioning the ideas of dance and humanity, according the Company’s website.

Ezralow’s performance résumé reads like a who’s who of contemporary dance. He has danced with 5×2 Plus, MOMIX, the Lar Lubovitch Dance Company and Paul Taylor Dance Company. Throughout his career Ezralow has created 15 original dance theatre plays, including PearlFlying Bodies, Soaring Souls and a reinterpretation of Igor Stravinsky’s The Rite of Spring.

His work has also been seen in Julie Taymor’s film Across the Universe, Cirque du Soleil’s Love and in the opening ceremony of the 2014 Winter Olympics in Sochi.

His most recent show Open, had its U.S. premiere at the Wallis Annenberg Center in Los Angeles in 2016 and is also the program the Company will be presenting in Dallas, March 29-30, at the Moody Performance Hall. Described as surprising, comical and fun, Open is a series of dynamic vignettes that are woven together using classical music, inventive concepts, playful movement and striking visuals

TheaterJones asks Ezralow about creating movement for film and theater, collaborating with his dancers and what audiences can expect to see this weekend.

 

TheaterJones: How would you describe Open, the work you will be presenting in Dallas this weekend?

Photo: MSA
Daniel Ezralow

Daniel Ezralow: You’re obviously going to see movement. You’re going to see fun concepts paired with classical music. And you’re going to see a fun show that is available to everybody. So I try to in a sense demystify the work and not put it up on a pedestal. I think it has to really play for everyone. Those who love dance and those who have never seen dance before as well.

 

So many contemporary choreographers today choose to go deep and heavy with their work. What made you want to create something light and humorous?

Generally speaking, choreographers today take themselves too seriously. Everyone is important in this world, including the janitor, the trash collector and the street sweeper. Everyone is important and they’re as important to appreciate your work as a well-developed artist who has been around the world or someone whose graduate summa cum laude from a university. I think it’s really important that we pay attention to everybody because as artists our responsible is to somehow have a positive effect on the world.

So, sometimes I get a little fed up, as you do, with the doom and gloom and the seriousness and the politicization of contemporary work. And I say you know what? I would just like everyone to really get their money’s worth. In other words, they have to come to the show and reach into their pocket to buy a ticket and spend 75 minutes of their life watching what I do on stage. I would like them to walk out feeling inspired. Feeling happy. Feeling a sense of joy. And I say this a lot and it’s a silly thing, but just that they want to live another day of their life because what’s important is that we inspire. And this work was very much meant to be that. I was meant to be accessible and that pretty much anybody could come a watch it and they wouldn’t have to say ‘oh, what does that mean?’ I just want them to accept it and get it.

 

There’s a fine line between comical and cheesy. In Open how did you keep from going over the top with the humor?

I think of it as more ironic than anything else. In my life I feel like I am very respectful of everybody, but I am respectful in a way to the rules in order to break them. So there is a big part of me that wants to look at something and if the rules are not working then I want to show people that it can be broken. I want to show that there is irony behind the rule. So a lot of the humor that I play with it really comes from my childhood. In my childhood I felt capable of joking around. There’s times that I do see my work and I think ‘Oh my God’ that’s just too silly. And then other times I see the dancers uplift the choreography to the point where I say “Wow they pulled it off!”

You see, I get overjoyed when I see someone walking down the street and they start jumping up and down on the sidewalk. Usually children and puppies do that, but adults never do that. So to see someone so overjoyed that they jump up and down is a very unique ironic break our society. And I think that is an important thing to see all the time. In a way I am very serious with the humor I use. But I believe also there is a very powerful thing that you can say once you make someone laugh.

 

Do you typically collaborate with the dancers during the creative process?

I am always collaborative. I come in with a strong idea, but I don’t actually believe that I can make anyone believe anything or do anything. So, both with the dancers and the audience I let the audience have the final word. I don’t want to tell them they’re supposed to believe what I am saying. If they believe it I am really happy and if they don’t then I need to work on my work.

It’s the same with my dancers. You see, I never believed that the dancer was just a color that the artist paints with. I think the color has an energy to it. I think dancers have their own unique energy. Ultimately, I think from a long time ago when I founded MOMIX with Moses Pendleton the whole belief system was that the dance is greater than the dancer and the dancer is greater than the choreography. Meaning to say that inside of our bodies we have dance. We are born with it. We keep moving our bodies because moving your body is what keeps you young and what keeps the flow of life going through you.

So, I believe that the dance is inside of you. The choreography is designed for which to hold the dancer or which to hold the dance. The dance is like a Greek spirit. It’s beyond all of us. And then the dancer takes that energy into their body and then the choreographer takes the energy of the body of the dancer and decides to organize it in a certain way.

So, I don’t really feel that at any point choreography should be stronger than the person performing it. In that sense I try to involve the dancers from a very early stage.

 

What type of dancers do you like to work with?

For a long time when I did commissions on companies and I tended to gravitate toward the black sheep. I wanted the dancer that the director told me was trouble and to not work with them, but that was the person I wanted to work with. Because they always had some unique issues right under the surface and that gave me fantastic material to work with.

And with my own company there is a lot of turnover, but only because my company is a project-based company. So, when we have a show we get together, but they all work commercially as well. I tend to like dancers who can do a music video or T.V. show and then they come and do concert work. I feel those dancers are very well-rounded. But the dancers I am working with, I call them all the time and some of them have been working with me for more than 10 years.

 

How hard is it for you to switch gears from concert work to commercial work?

Even when we were doing MOMIX, David Bowie would call or U2 would call us because they liked the work we were doing. So I wouldn’t call it commercial. You could come at that work from a commercial point of view or you could come at it from an artistic point of view. And I always come at it from artistic even when I did films like The Grinch with Ron Howard. That still is an artistic project for me. All the commercial things I do like Television even in Italy. Though seemingly it looks like just a TV show, I always try to change the dynamic and change the parameter to feel more artistic and that’s what I love about it.

So I kind of hop skip and jump between film, TV, Broadway, commercial work and artistic work, and because I am flexible in my mind I don’t see that it’s a problem. I’m sure for some people it would be a big problem. But my mind is flexible and these are very different worlds. The timing on an artistic project is not at all the timing on a Television project. In Television you have to move fast. You have to change fast. And you have to be willing to give up your idea and compromise all the time. Whereas with an artistic project you’re really backing your idea. So, I just shift with the projects and I don’t see that it’s difficult.

This Q&A was posted on TheaterJones.com.

 

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Preview: LakeCities Ballet Theater’s Coppelia

Dancing Dolls

LakeCities Ballet Theatre serves up another kid-friendly ballet with Coppelia, featuring special guest Steven Loch at MCL Grand Theater in Lewsiville.

LakeCities Ballet Theatre Presents Coppelia. Photo: Nancy Loch Photography.

Lewisville — As I watched LakeCities Ballet Theatre (LBT) rehearse Act 1 of Coppelia Artistic Director Kelly Kilburn Lannin leaned over and whispered how this particular section of music always reminds her about the time their Franz injured himself mid-performance and Steven Loch, who was 12 at the time, was asked to step in and danced the final part of show perfectly.

Later, when I mentioned this story to Loch in the breakroom where we sat down to talk he laughed and says he gets acknowledged quite often for his ability to jump into roles at the last second—a skill that he says he learned from Lannin and her team at the Ballet Conservatory in Lewisville.

“There is so much supply and not enough demand so the high level of excellence gets even more exaggerated,” Loch says about what it takes today to become a professional ballet dancer. “You have to be the most valuable worker to have the best shot, and I think one of the great things about here is Kelly knew that from the beginning. She knew that if you want to make it as a dancer than you’re going to have to learn to do it all.”

Photo: Pacific Northwest Ballet
Steven Loch

He adds, “And also too, the standard that she puts on students are so high and you know have to hit those standards because there’s no forgiveness. Then, when you go the professional world you have good habits. You’re disciplined. You’re a good worker. You’re a professional and you’re a good human. And it’s actually surprising how valuable that is. And Kelly’s standard is such that even for understudies you have to be able to jump in and do it perfectly so that no one notices or you are going to be in trouble.”

But in the same breath Loch also says Lannin is very nurturing, which I saw firsthand during one of the company’s Coppelia rehearsals a couple of weeks ago. “She is so sweet and loving and gives so much of herself,” Loch says. “She gave me so much love and not only cared about me as a dancer, but also a person. She was my mentor growing up and she taught me everything in order to be ready for the professional world.”

After graduating from high school in 2009, Loch joined the professional program at Pacific Northwest Ballet (PNB). He joined the company in 2011 and was promoted to corps de ballet in 2012. He was promoted to soloist at the end of last season. Throughout his career with PNB Loch has returned home on numerous occasions to perform leading roles in LBT’s productions, including DraculaGiselleThe Nutcracker and Coppelia.

As for his reasons for returning, Loch says, “This place is my home and it has given me so much so I definitely want to return the favor.”

He continues, “I also get called in to do the leading roles, which when I was younger I didn’t get the opportunities to do. It also gives me more practice and experience in these roles so when I start performing lead roles in Seattle I will be more ready.”

Regarding his reaction to the news of his promotion last season, Loch says, “When I got promoted to soloist it was really satisfying because I had put so much work into it and to see the fruits of your labor turn in to something like this just felt really special.”

He adds, “As dancers we are all perfectionists so earning this title has also definitely given me more confidence.”

Watching Loch jump into rehearsal after just stepping off a plane I couldn’t help but wonder what he does to help prevent injury and illness. On this topic Loch says, “Recovery is so important so anything that can help me speed up recovery is great. I do cryotherapy. I have Norma Tec boots. I do a lot of stretching and roll out using a roller. I also do massage and work with this lady who does Trager Approach in addition to neuromuscular therapy.”

Of all the recovery methods that he uses Loch says the cryotherapy has been the most effective for him. “It’s so much more efficient than icing because you are put in such a cold environment that the blood goes to your core instead of your extremities. So it’s more nutrient rich, and it only takes three minutes, and you are able to move afterwards, so you can do it before working out or after working out. And it makes you recover three times faster than you normally would so, for me that has been a huge game changer.”

You can check out Loch in LakeCities Ballet Theatre’s rendition of Coppelia, March 29-31, at the Medical City of Lewisville Grand Theater in Lewisville.

This preview was originally posted on TheaterJones.com.

 

Preview: Dallas Neo-Classical Ballet’s Myth & Magick

Bewitching Ballet

Dallas Neo-Classical Ballet explores the hierarchy of witches in its version of The Rite of Spring, part of the company’s Myth & Magick at the Sammons Center.  

Dallas Neo-Classical Ballet presents Myth & Magick. Photo: Alisa Eykilis

Dallas — Dallas Neo-Classical Ballet (DNCB) has never been afraid to present works showcasing the darker side of ballet. If anything, the company thrives on performing work that is raw, dark and peculiar. Case in point, The Company’s annual Horror Series where the dancers are decked out in drab clothes covered in fake blood and crazy hair and makeup. Other works that come to mind include DNCB’s retelling of The Red Shoes in 2015 and Masque of the Red Death in 2016.

So, when I head DNCB was doing its own version of Vaslav Nijinsky’s and Igor Stravinsky’s The Rite of Spring at its Myth & Magick performance on March 22 at the Sammons Center for the Arts in Dallas, I couldn’t wait to find out what kind of twist Artistic Director Emilie Skinner would be adding to her recreation of the infamous ballet.

When she told me the nine female dancers would be portraying witches my first thought was that these characters were well-suited for the ballet, which is already steeped in pagan rituals, including a human sacrifice near the end. And second, what would make Skinner decide to take on such an ambitious project.

Dallas Neo-Classical Ballet presents Myth & Magick. Photo: Alisa Eykilis

Skinner says the ballet wouldn’t have been possible without the help of Lane Harder, a professor at Southern Methodist University and the director of the music ensemble SYZYGY. She says Lane was the one who threw out the idea of doing The Rite of Spring at one of their brain storming sessions. “I remember the first time I saw the ballet live, which was when the Joffrey Ballet did it in Dallas in 2013. I was really impacted by it and so, it has stuck out in my mind ever since. When Lane brought it up he said we had the players so we decided to go for it.”

Going into the process Skinner says the most challenging aspect for her was taking a work that has a large number of dancers and translating it onto just nine female dancers. She goes on to say that she wanted to stick closely to the original choreography, but had to take into consideration the intimate space they would be performing in due to the frenzied nature of the ballet. “I don’t think our version looks as chaotic as others, like Joffrey, because I don’t have as many dancers doing as many different things. And because we are doing this at the Sammons Center and in a round I didn’t want it to be too much for the audience to take in when they are sitting right there at stage level.”

She adds, “I really like the setup at the Sammons Center. I think it’s a fun way to present the piece and it makes it a little more raw that it’s right there and it’s just so aggressive and weird and unfamiliar movement for a lot of people including us.”

The all-female cast was a purposeful choice made by Skinner to bring attention to the strength and femininity that she picked up on while researching the culture of witches. She did make it a point to say that while she is drawn to certain aspects of the culture she is not a practicing Wiccan.

“I am not a witch, but there is something about that style and aesthetic that fits really well and I can just plug that into The Rite of Spring. And when I think about the Pagan rituals and sacrifice in the piece I just automatically go to this Wiccan history.”

She continues, “This piece is more focused on the feminine side of that culture. It’s just seems so powerful and feminine and nice and beautiful, but also kind of scary and dark, which is kind of what our company is about.”

The all-female cast represents different degrees of witches, including the neophytes (lowest degree), second-degree witches and third-degree witches or high priestesses, which will be represented by long-time DNCB company member Lea Zablocki. The dancers will be wearing long black skirts and crops tops decorated by local artist Heather Lynn who says in a Facebook post that she was inspired by Pagan runes and celestial diagrams. Skinner says loose hair and body paint will complete the look.

“I wanted her to create different designs for each of those groups of witches,” Skinner says about the costuming. “And Lea is actually making herself this crazy huge head piece. So, this sort of barbaric nature, raw and down-to-earth kind of feel.”

The program on Friday will open with a re-staging of Erik Satie’s Mercure from 1924, which will also include live accompaniment by SYZYGY. Also featured in the first half will be an original work by a composition student of the Meadows School of the Arts Division of Music.

You can catch Dallas Neo-Classical Ballet’s The Rite of Spring at the company’s Myth & Magick performance at the Sammons Center for the Arts this Friday.

This preview was originally posted on TheaterJones.com

 

Preview: Dark Circles Contemporary Dance’s Spring Series

Below the Surface

Dark Circles Contemporary Dance reaches new artistic depths in Sidra Bell’s new work Nervosa, part of the company’s Spring Series in Addison this weekend.

Dark Circles Contemporary Dance rehearsing Nervosa. Photo: Courtesy of DCCD

Addison — With only flesh-toned G-strings and dance belts covering their lower halves, one by one the dancers run into the space and execute an upper spinal curve that accentuates the muscular lines of their chests, thighs and glutes before being pulled off stage by some invisible force. This back and forth continues until, suddenly, all the dancers run on and form a circle in the right, upstage corner. Standing shoulder to shoulder the dancers remain motionless except for the heavy rise and fall of their bare chests and their eyes, which are actively searching the space.

This is just a taste of what New York-based Choreographer Sidra Bell has in store for Dallas audiences in her new work Nervosa, which premieres at Dark Circles Contemporary Dance’s Spring Series this weekend.

Bell is one of the hottest names in the dance world right now thanks to her unique style, which explores bodily forms through the modular lenses of flesh, bones, nerves, memory, site and history, according to her Web site. Her knowledge of visual art also plays an important role in her creative process. Bell’s work has been seen throughout the U.S. and abroad, including Sweden, Denmark, France, Germany, Slovenia, China, Canada, Korea and Brazil. Her company, Sidra Bell Dance New York, has rapidly garnered an international profile for work that reveals aspects of the human condition through a distinctly female lens.

After watching a run-through of Nervosa in February at Preston Center Dance, Bell sat down to talk with the small audience that was there about her creative process for this piece and answer any questions we might have for her.

Bell starts off by telling us that Nervosa is about making you and making me in two parts and is housed within a much longer work that her company is currently working on that focuses on the nervous system and how it affects the way a person feels and moves. “The piece is about relationships and what it means to really feel someone,” Bell says. “It’s also about what makes the nervous system tick and sensing the people around us with our eyeballs and skin.”

This statement definitely brings more clarity to that moment where the mostly nude dancers are standing in a circle watching one another as well as the following duet where Eric Lobenberg slowly walks around the space with Victoria Daylor draped over his shoulder. This is an extremely raw and tender moment between the couple, which thankfully isn’t diminished by their nudity; something Bell was hyper aware of when she made the decision for the dancers to be mostly nude for this part of the dance. (Note: The dancers wear black and gray long sleeved-unitards for most of the work)

“It was a late decision,” Bell says about the nudity. “It was made in an effort to export more of the human experience. The nudity in the duet feels natural and more innocent and does not conjure violence. It also brings attention to the lines of the body.”

“She made the decision with 30 minutes left to the end of our rehearsal the day before the preview,” Daylor says. So, we did it again with nudity and it just completed the work.”

Regarding the nudity in the duet Daylor says, “When Eric is holding me it feels comfortable. I feel close to him. His body feels like a layer of clothes against my back. I actually feel more vulnerable in the first part of the duet where we are not touching and the wind on my skin reminds me of my nudity.”

And as for working with Bell, Daylor says it was a wonderful experience and she was pleasantly surprised with how much personalized time Bell gave to them. “She gave us very individual things to work on that were not just about the choreography, but also things to help further our dancing going forward.”

Daylor uses her solo at the beginning of the dance as an example. After the group disperses, Daylor starts walking around the space and stops occasionally to contract her chest, which then ripples down into her hips and legs. Her movements remain fluid and evenly paced even when Nick Heffelfinger enters and begins convulsing on the ground.

“She gave me advice on things to do with my focus. She told me to think about the muscularity of my eyes and how deep set they are in my face. She also wanted me to be seeing everything around me in a way that is energetic.”

When I asked her if Heffelfinger’s frenzied movement ever made her lose her focus Daylor laughingly said, “I actually have no idea what he does because I am in my own world. For me, I am just here on earth and he is something on another planet and maybe we collide at some point, but I can’t give him too much attention.”

As for the control and stability Daylor exudes in her solo she says she has to give some of the credit to her outside training in the Gyrotonic method. “It has really helped me with my focus and stability of my breath when I’m dancing. Underlying it with my dancing has given me a good base.”

You can catch Daylor and the other members of Dark Circles Contemporary Dance in Bell’s Nervosa at the company’s Spring Series, March 22-24, at Addison Theatre Centre. The program also includes the premiere of Joshua L. Peugh’s Dialogue featuring Tejas Dance, a local Bharatanatyam Indian classical dance duo.

This preview was originally posted on TheaterJones.com

 

Preview: Dallas Black Dance Theatre’s 2019 Cultural Awareness Series

Justified Movement

Dallas Black Dance Theatre celebrates singer and Civil Rights activist Odetta Holmes in Matthew Rushing’s Odetta, part of the company’s Cultural Awareness Series at the Wyly Theatre.

Matthew Rushing. Anddrew Eccles

Dallas — The moments that have stayed with me days after watching Dallas Black Dance Theatre rehearse Matthew Rushing’s Odetta (2014) were, interestingly enough, not the full bodied-movements, grandiose jumping passes or powerful partnering skills, though these elements were incredible and well suited for the dancers. No, it was the quieter moments where the dancers relied on basic instinct and human connection to fulfill their roles that have left an imprint on me.

A perfect example is the opening scene when company member Kayla Franklin (who shares this role with Lailah Duke) slowly walks toward the audience as she cuts through the space with her arms and curves her spine over. As the opening notes of Odetta Holmes’ rendition of “This Little Light of Mine” fill the space, a joyous expression crosses Franklin’s face as she circles her hips and bounces from heel to heel to an internal beat that soon takes over her entire body.

Another memorable instance is the section where Jasmine White-Killins and De’Anthony Vaughan use mainly arm gestures while sitting on side-by-side stools in center stage to “There’s a Hole in The Bucket” sung by Holmes and Harry Belafonte. The song is fun and playful and White-Killins and Vaughan do an admirable job of conveying the emotions in the catchy tune. For example, as White-Killins begins to lose her patience, her arm movements become sharper and more pronounced, such as when she demonstrated how to sharpen an ax by rubbing her forearm intently across her right thigh.

And yet another picturesque moment occurs as Sierra Noelle Jones and Zion Pradier dance on a self-made dock to Bob Nolan’s “Cool Water” while the rest of the dancers watch attentively from their seated positions. At first I thought the couple was dancing on a stage, but as Jones cups her hand and extends it over the edge of the stage it transforms into a dock. The dock is actually six benches constructed of different-sized squares, which enables the benches to interlock with one another to appear as train seats as well as add a cool visual affect when they are placed vertically in other sections of the work.

“I wanted to work with something that was interchangeable and from scene to scene could kind of morph into whatever the scene was about,” Rushing says about the set. “I knew I would be dealing with a lot of different sections because Odetta Holmes’ work was so huge that I would be working with Blues and Jazz, protest songs and works from musical theatre so I knew it would be very layered within itself. So, whatever the set would be it would have to be able to morph and change in these different environments and settings.”

Come to find out, the idea for the set was actually a miniature I.Q. test that Rushing says he found while on tour in Germany and what we see onstage today is a much larger replica of these wooden Lego-like parts of this cubed puzzle.

This work also requires a high level of maturity, vulnerability and trust, which, when watching the dancers rehearse, it’s obvious to see DBDT possesses these qualities in spades. These ingrained abililties can also be attributed to why DBDT is the first company to perform Odetta outside of Alvin Ailey American Dance Theatre.

“They are extremely versatile dancers,” Rushing says about DBDT. “They are able to go in and out of different genres of dance and that skill is required for the ballet Odetta so I just felt it was an easy fit.”

He adds, “They are incredible artists who are also extremely expressive as well as technically strong in different styles of dance. And just like Odetta’s work was extremely diverse and layered I feel that the artists of Dallas Black Dance Theatre are exactly that as well. They are extremely diverse and they have many layers to their artistry.”

This is not the first time Rushing has worked with DBDT. The rehearsal director for the Ailey Company choreographed Tribute for DBDT in 2016, which was also when he first brought up the subject of DBDT possibly doing Odetta sometime in the future.

“I remember being in tech rehearsal sitting next to Ms. (Ann) Williams and it hit me at that point. I could really see the dancers of Dallas Black Dance Theatre performing Odetta,” Rushing says in a press release from DBDT.

As for Rushing’s inspiration for this work, singer and actress Odetta Holmes, he says, “One of the biggest “aha!” moments I had with choreographing this piece was finding out just how Odetta Holmes used her gift as an instrument and as a weapon for social justice. That spoke to me directly and it encouraged me and challenged me that I could do the same with choreography and with being a dance artist.”

He adds, “She might not have been the person leading the marches, but she was the person who led the rallies before the marches and I was like WOW how amazing that we all in a sense have a piece in this puzzle about making this world a better place. And she was very confident and clear that her place fell into using her gift as a singer and musician and I really connected with that when I found out about her work and how she literally changed the world with her gift.”

Odetta makes its Dallas premiere at DBDT’s Cultural Awareness Series, Feb. 15-17, at the AT&T Performing Arts Center’s Dee and Charles Wyly Theatre in Dallas. The program also includes Dianne McIntyre’s Nina Simone Project, an evening-length work DBDT premiered back in 2011.

This preview was originally posted on TheaterJones.com.

 

Preview: Dark Circles Contemporary Dance’s Winter Series

Out of this World

Dark Circles Contemporary Dance aims to resemble alien rock stars in Mark Caserta and Mikey Morado’s new work Dregs, part of the company’s Winter Series at WaterTower Theatre.

DCCD rehearses Dregs. Photo: Brian Kenny

Addison — “An alien dark underbelly vibe, but with a gentle tone,” is how Mark Caserta describes the mood of Dregs, a new piece he and fellow choreographer and boyfriend Mikey Morado have created for Dark Circles Contemporary Dance’s (DCCD) Winter Series, which boosts works made by queer choreographers centering on gay identity in America. The program will also feature Eoghan Dillon’s Boys Are and Joshua L. Peugh’s Bud, which he did in collaboration with multimedia artist Brian Kenny. The performance will be held Jan. 24-27 at Addison Theatre Center, DCCD’s new home for 2019 thanks to its new partnership with WaterTower Theatre.

“It’s quite gender confusing, but very sexy,” Caserta says about the approximately 22-minute work, which includes an original score by Pittsburgh-based slowdanger whom he says mixed the track in the studio while the dancers worked. “It’s alien and out there, but also has a relatable vibe.”

As for the choreography in the piece Morado says, “We like to work with images that are more chic and simplistic and less confetti and more latex. So, what we made at the end of the day was a very alien world that has its own rules and doesn’t really operate within this 2019 America vibe.”

Morado and Caserta are both products of reputable dance institutions. Morado received a BFA in dance at Marymount Manhattan College before joining Sidra Bell Dance New York in 2013. Caserta trained at the Ailey School and graduated from the University of the Arts with a BFA in ballet performance. He has danced with Eleone Dance Theatre, Complexions Contemporary Ballet, Les Ballets Jazz De Montreal and Camille A. Brown + Dancers.

Mikey Morado in Mark Caserta’s Good Boy. Photo: Matthew Caserta
The couple met via social media and began collaborating with each other soon after. They were living and working in New York City when they decided to move to Dallas to work for Christy Wolverton-Ryzman at Dance Industry Performing Arts Center in Plano, in 2015.

“I have known of Dance Industry since my time at Complexions,” Caserta says. “The kids would come to New York City to attend workshops, and through them I developed a relationship with Christy and Jamie Anderson. They had offered me a job a few years before, but I was working, so it wasn’t until 2015 when Mikey and I were looking for a change that I asked them if the offer still stood and we moved to Dallas.”

Morado says that his relationship with Dance Industry didn’t start until after the couple had made their decision to move. “I had never met either of them, but we came out in March to teach and see what the vibe was here and Jamie and Christy picked us up from the airport and the second we got in the car with them there was an instantaneous certainty that we belong here. So, they brought me on and gave me basically the same amount of role that Mark has in the studio.”

It was about a year later when Wolverton-Ryzman handed over the reins of the Thriving Artist Project to Morado and Caserta. “This was something she had started the year prior to hiring us,” Morado says. “It was a small scale project and really more about her connecting with the kids and giving them professional advice.”

He continues, “I think she knew she wanted to amp up the program and that she wanted to do something that would extend beyond the walls of Dance Industry in a very real and practical concert dance sense. So her bringing Mark and I on, she knew that she would be well-connected to the current dance world that is still happening in New York and all over the world.”

So far Morado and Caserta have been living up this promise as evident by the list of names they have on the Thriving Artist Project’s event calendar online. The list includes high end choreographers such as Sidra Bell of Sidra Bell Dance New York, Jonathan Alsberry of Hubbard Street Dance Chicago, Micaela Taylor of TL Collective and Christie Partelow of Nederlands Dans Theater.

When I brought up that these are names you typically associate with local dance institutions such as Booker T. Washington High School for the Performing and Visual Arts Morado replies, “There are a lot of shiny and glitzy things in Dallas and particularly around Booker T. and so it’s very easy for that to be considered the mecca of ‘shiny dance things,’ but I think it’s really meaningful and impactful for these kids that Mark and I work with that we work in a way that is very humble and we choose to work with artists who reflect that humility.”

He adds, “What sets us apart as individuals, but also as a couple is our level of consideration and really making sure that the quality and connection is genuine. That it’s never forced and we work with artists who we truly support.”

It was through the Thriving Artist Project where Morado and Caserta meet Peugh who was at the couple’s first performance back in 2016.  “He was super complimentary and we clicked with him right away,” Morado says.

“It was such a bold and loving move for him to reach out to us,” Caserta says. “He is a smart businessman and has become a great friend.”

Mark Caserta. Photo: Matthew Caserta
The couple met via social media and began collaborating with each other soon after. They were living and working in New York City when they decided to move to Dallas to work for Christy Wolverton-Ryzman at Dance Industry Performing Arts Center in Plano, in 2015.

The dance duo also had nothing but nice things to say about their time in the studio with the DCCD dancers. “We were super inspired by the dancers and just by that particular group that is with Dark Circles right now,” Morado says. “They have such a warm chemistry among them and the majority of them identity as gay or queer themselves, and I think particularly being in Dallas and connecting with people like that has a bit deeper of a ripple than it would in a place like New York because there is less of a demographic there for that.”

While discussing the creative process for Dregs, Morado says it was done in reverse order to what people generally consider normal. So, instead of giving the dancers specific movement phrases or specific motifs, he says they generated a lot of the movement based off of the tasks they had the dancers doing such as free writing and coming up with their own gesture movements, which they later combined into collaborative group phrases.

Morado explains, “The experience for them is very personal, and rather than giving them the details and having them form the piece around that we kind of had them form the piece and then said ‘oh that is a detail we want to put in.’” He adds, “We also made an effort to highlight each dancer individually and to not stick with one soloist. We wanted to equalize everyone and especially with a group this talented we would be short changing ourselves if we didn’t individualize the piece for them.”

For this work, DCCD has also paired with Youth First, a program of Resource Center and one of the only youth centers in the North Texas area aimed at meeting the needs of LGBTQ youth ages 12-18. The company has been teaching masterclasses for the teens which explore identity and self-expression through movement.

This preview was originally posted on TheaterJones.com.

 

 

The Year in Dance

Here are my favorite new dance works of 2018!

Face What’s Facing You by Claude Alexander III for Dallas Black Dance Theatre. Photo: Anne Marie Bloodgood

This year saw the creative juices flowing from well-known local dance artists, including Joshua L. Peugh, Katie Cooper and Kimi Nikaidoh as well as guest artists who brought styles that had yet to be seen in Dallas such as Yin Yue’s FoCo contemporary dance style and Gabrielle Lamb’s bird-like quality and theatricality. We also saw the resurgence of authentic jazz technique from Southern Methodist University (SMU) Artist-in-Residence Brandi Coleman and the expansion of Bombshell Dance Project’s technical fortitude in a new piece by visiting choreographer Amanda Krische.

A few of the works on my list this year also featured live accompaniment, including Cooper’s The Little Match Girl Passion, Nikaidoh’s The Face of Water and Peugh’s evening-length work Aladdin,حبيبي. We also saw more musical collaborations with local talent such as Cooper’s Avant Chamber Ballet with Verdigris Ensemble and Peugh with SMU alum Brandon Carson who worked on both Aladdin and Lamb’s Can’t Sleep But Lightly.

Relatability also played a big part in my decision making for this list, and while every piece made me feel something, the one that spoke to me the loudest was Claude Alexander III’s Face what’s facing you! He managed to address a number of issues affecting individuals with humility and an uninhibited movement quality.

As far as what I’m looking forward to in the coming year I am excited to see what Bridget L. Moore is cooking up with her new company, B Moore Dance, as well as Dark Circles Contemporary Dance’s winter showcase, Avant Chamber Ballet’s Romance and Ragtime and Bruce Wood Dance’s gala fundraiser entitled Dances from the Heart. I am also looking forward to seeing Dein Perry’s Tap Dogs at the Winspear Opera House in March.

And my wonderful husband got me tickets for both Anastasia and Hamilton at Dallas Summer Musical in Fair Park. I am already counting down the days!!!!!

My dance writing goals for 2019 include talking and visiting with even more local dance companies and choreographers as well as attending some shows outside the dance realm, including plays, musicals and opera. Can’t wait to get started.

Until then, here are my favorite new works made in 2018:

 

The Little Match Girl Passion by Katie Cooper

Avant Chamber Ballet and Verdigris Ensemble

December

Moody Performance Hall, Dallas

Always one willing to break the mold when it comes to classical ballet, Katie Cooper paired her company, Avant Chamber Ballet, with the vocalists of choral outfit Verdigris Ensemble for a very sobering and elegantly danced performance of David Lang’s A Little Match Girl Passion at Moody Performance just a few weeks ago. Cooper took a very different approach for the choreography in this performance. Instead of bouts of group allegro and adagio movements Cooper had the corps act as scenery and story imagery, which only added to the balletic lines and character portrayal of lead dancer Juliann McAloon. ACB took a risk with such a somber show, but while the show brought to the surface the feelings of loss and sadness, it also presented airs of beauty and spiritual awakening.

 

Aladdin,حبيبي by Joshua L. Peugh

Dark Circles Contemporary Dance

October

AT&T Performing Arts Center, Wyly Theatre, Sixth Floor Studio Theatre, Dallas

Peugh stretched his artistic boundaries with his first evening-length work, Aladdin, Habib, which Dark Circles Contemporary Dance performed back in October as part of the AT&T Performing Arts Center’s Elevator Project. Known for giving very few details about his pieces to his dancers, Peugh admitted Aladdin was a completely new experience for himself. He stepped outside his comfort zone with repurposed set design, strong character portrayals and live music. The movement was a blend of Peugh’s signature heavy-footed walking steps, twisty curvy floor work and subtle gesturing with more accented hips, body ripples and staccato movements typically associated with Middle Eastern dance cultures. The narrative is based on “The Story of Aladdin” as well as company member Chadi El-koury’s own personal story of coming to America with his family as a young boy, which he approached with calm determination and an emotional intensity we had yet to see from him.

 

Brandi Coleman’s And One More Thing… at SMU. Photo: Meadows Dance Ensemble

 

And One More Thing… by Brandi Coleman

Meadows Dance Ensemble

October

Southern Methodist University, Bob Hope Theatre, Dallas

One of the few jazz choreographers in the U.S. trained in Jump Rhythm Technique, Coleman wowed the audiences with her funky and loud jazz number, And One More Thing…, at Southern Methodist University’s Meadows School of the Arts Fall Dance Concert in October. Originally created in 2015, Coleman added on three new sections with a grand finale that featured a large group of females dressed in casual street clothes moving and grooving to “Tell Me Something Good” by Rufus and Chaka Khan. The piece played between the juxtaposition of stillness and hotness, which the dancers demonstrated through subtle gestures and sassy expressions as well as their sudden bursts energy and scat-singing, a fundamental element of Jump Rhythm Technique. It was fun and rambunctious and definitely a work worth seeing again.

 

LUNA by Amanda Krische

Bombshell Dance Project

June

Moody Performance Hall, Dallas

Repetitive phrases that travel every which way was the foundation for New York-based choreographer Amanda Krische’s LUNA, which was part of Bombshell Dance Project’s Like A Girl performance at Moody Performance Hall last June. Emily Bernet and Taylor Rodman tapped into their inner beasts in order to maintain their energy levels throughout the 10-minute work which started out with the two of them walking a specific number of steps before the monotonous phrase was broken up with gestures, pauses and abrupt floor work. The girls described the piece as a slow burn and they definitely had to dig deep as the intensity continued to build and the music switched from meditative to pulsating. It was a pleasant departure from the bombshells signature robust movement style.

 

Can’t Sleep But Lightly by Gabrielle Lamb

Dark Circles Contemporary Dance

March

WaterTower Theatre, Addison

New York-based choreographer Gabrielle Lamb challenged the dancers’ mathematical skills as well as their artistic sensibilities in her piece for Dark Circles Contemporary Dance’s showing at WaterTower Theatre’s Detour Festival back in March. Methodical walks, balletic lines and alien-esque body shapes are woven throughout this cleverly crafted piece. What I liked most about this piece is its lack of physical partnering; instead the dancers relied on simple human contact to produce authentic connections with one another. It was a very trippy ride indeed and a complementary pairing of artistic minds.

 

The Face of Water by Kimi Nikaidoh. Photo: Sharen Bradford/The Dancing Image

 

The Face of Water by Kimi Nikaidoh

Avant Chamber Ballet

April

Moody Performance Hall, Dallas

Nikaidoh used a range of emotions and the highs and lows within Argentine composer Osvaldo Gojilov’s 2002 chamber piece Tenebrae to drive the movement in her new work for Avant Chamber Ballet’s 2018 Women’s Choreography Project last April. Nikaidoh described the piece as more of an emotional journey focused primarily on hope and new beginnings, which was depicted in the longer, sweeter notes in the music. The combination of classical movements such as pas de deuxs and standard corps body lines and formations with Nikaidoh’s penchant for subtle musical gesturing and unlikely body shapes was a delightful juxtaposition for these talented dancers. Add in the dancers’ emotional conviction and you had a winning work.

 

Begin Again by Yin Yue

Bruce Wood Dance

June

Moody Performance Hall, Dallas

Bruce Wood Dance did an admirable job of presenting New York-based choreographer Yin Yue’s FoCo contemporary techniques to audiences at its Harmony performance last June. The cyclical nature of the piece is an extension of Yue’s movement style that features liquid body rolls, continuous arm circles and wide, sweeping leg lifts and floor work. The piece showcased the bond of the group, a staple of many of Bruce Wood’s works, in which the dancers appeared as one living organism before breaking off into smaller pairs and individual movement sequences. A musical mover Yue’s choreography came across as one continuous line of thought that dips, daps, weaves and loop-de-loops around an individual’s personal space, which led to some unexpected and visually pleasing moments.

 

Face what’s facing you! by Claude Alexander III

Dallas Black Dance Theatre

May

AT&T Performing Arts Center, Wyly Theatre, Dallas

Dallas Black Dance Theatre tackled their own unresolved issues in Claude Alexander III’s Face what’s facing you!, part of the company’s Spring Celebration Series back in May. As a rising choreographer Alexander delivered a strong voice in this work, which centered around some unresolved issues in his life in order to start the healing process. The piece was cathartic and heart pounding at the same time as the dancers meshed smooth walks and sustained lines with explosive jumps and multiple turns. Alexander didn’t waste any time getting to the theme of the piece and the action-packed stripped-down choreography was a breath of fresh air.

 

This list was originally posted on TheaterJones.com.

 

Preview: The Nutcracker presented by Ballet North Texas

New Nut In Town

For its premiere season, Ballet North Texas is taking its Nutcracker production on the road to venues in Dallas, Terrell and Palestine.

BNTNutcracker
BNT rehearsing The Nutcracker. Photo: Robert N. Johnson

Dallas — There’s a new professional ballet company in town and they’re upping the local Nutcracker game with a traveling production that will make stops in Dallas, Terrell and Palestine this holiday season. Ballet North Texas (BNT) is the brainchild of Nicolina Lawson, a classically trained dancer who had been traveling between her home in Wichita Falls and Dallas for the last five years for dance jobs before officially settling down in Dallas with her husband and kids last year.

Lawson grew up training at her mom’s dance studio in Redding, California. From there she went to San Francisco where she studied with Alonzo King, Summer Lee Rhatigan, Arturo Fernandez, Julie Tobiason and Meg Potter. In 2006 she moved to Venice to dance with Teatro De La Danza Italia under the guidance of Salvatore Gagliardi and Stefania Sandrin. She met her husband abroad and started freelancing to accommodate all the moving around they had to do with his job.

Throughout her professional career Lawson has danced classical and contemporary roles with Redding City Ballet, Alaska Dance Theatre and Momentum Dance Collective. In Dallas, she has performed in works presented by Contemporary Ballet Dallas (now Ballet Dallas) and Dallas Neo-Classical Ballet. She currently teaches and choreographs for The Hathaway Academy of Ballet in Plano; Studio C in Burleson; and is a teacher and rehearsal instructor for Wichita Falls Ballet. Lawson also holds two Bachelor’s of Science degrees in business economics and marketing from the University of Maryland.

So, what motivated her to start a ballet company in Dallas? Lawson says, “I know a lot of the ballet schools in the area do story ballets and other classical works, but unless you’re dancing with Texas Ballet Theater I find that a lot of the professionals don’t get the opportunities to dance these classical roles.”

She adds, “I also love ballet! I grew up in the studio and it was like this part of me that was just missing.”

Lawson admits that is was also a case of being in the right place at the right time because around then a friend of hers, the dance director of the Lakewood Conservatory of Fine Arts, was looking for new ways to expand upon its offerings and so the Lakewood Conservatory is now home for BNT. The company currently has 18 dancers, many of whom also perform alongside other local dance companies, including Ballet Dallas and Dallas Neo-Classical Ballet. Some names you might recognize include Whitney Hart, Hannah Rae Kleimeyer, Heather Dods and Tristan Rodney.

Lawson says the opportunity to perform in other Texas cities presented itself during her search for a venue for the Dallas performance. One of her phone calls was with a board member of the Terrell ISD Excellence Foundation who broached the subject of hosting BNT’s Nutcracker since the community hasn’t had a professional showing of the holiday classical come through in a while. Lawson says Palestine has a similar story in which the community hasn’t seen a professional company perform The Nutcracker in almost a decade.

To make these communities feel even more included, Lawson held auditions in each city and each performance will have a different cast of children from that community as well as a different company members in the lead roles such as The Sugar Plum Fairy, Cavalier and Nutcracker Prince. The role of Clara will also be performed by a company member, except for the show in Dallas where local pre-professional Amelia Dodson will be playing the character.

For someone with so much riding on these Nutcracker performances Lawson sounded very calm and focused during our phone conversation earlier this week. When I asked what is was like putting together her first Nutcracker production, and with three different casts no less, she replies, “It was a learning experience for sure. There’s all these things that I never had to think about when I was performing, such as what music is going to be playing when the audience walks into the theater so it is not silent.”

On the flip side, Lawson says creating the choreography for the show was a pretty organic process as the idea for how she wanted the story to go had been in her head for quite some time. “I took a little more of the original story with the Nutcracker and the Rat King and infused that into the version that most of America knows. So, in my production the Nutcracker turns into the Cavalier and my Clara is still Clara and doesn’t turn into the Sugar Plum Fairy. She’s actually on the journey with the Nutcracker/Cavalier to return him back to the Land of the Sweets where the Sugar Plum Fairy is waiting for him because he has been cursed to begin with.”

Lawson is also well aware there are a number of professional dance companies already operating out of Dallas. So, as far as where she thinks BNT is going to fit into the local landscape Lawson says, “Originally I would have said we were for anyone that wanted that kid-friendly environment, but with all the opportunities that we’ve had to tour I really feel like that is going to be our niche moving forward.”

This preview was originally posted on TheaterJones.com.

 

 

Review: The Nutcracker, Dallas Ballet Company

Closing this week on Sunday Dec. 9. Next performance on Friday Dec. 7 at 7:30pm

Mice and Men

Dallas Ballet Company shows the value added with male dancers of all ages and abilities in its annual Nutcracker performance at the Granville Arts Center in Garland.
The Dallas Ballet Company’s The Nutcracker. Photo: David C. Harris/Time Frames Photography

Garland — In addition to musically enchanting choreography and well-placed comedic moments, what Dallas Ballet Company’s The Nutcracker performance—which has performances with a second cast Dec. 7-9—also had an abundance of talented young men playing pivotal roles in every scene of one of the best recreations of The Nutcracker I have seen from a local pre-professional ballet company in quite some time.

A fast-paced show that ended right on two hours, DBC’s Nutcracker was a whirlwind of bold colors, delicious looking props, splendid dancing and beautiful storytelling that brought new life to the 300-year-old ballet, which features movement by Marius Petipa and Lev Ivanov and a score written by Pyotr Ilyich Tch Tchaikovsky. The DBC’s performance contained elements from the original story written by E.T.A. Hoffmann as well as moments from George Balanchine’s Nutcracker, which is the stage production that audiences are most familiar with.

The story begins at the Silberhaus home where the family entertains its close friends with a grand Christmas Eve celebration. The party includes a visit by Herr Drosselmeyer (local actor Randolph McKee) who sets the action for the rest of the performance when he gifts a nutcracker doll to his goddaughter Clara played by the charming Anna Speer. This makes Clara’s brother, the endearingly awkward Julien Pham-Davis as Fritz, unhappy, and he shows his displeasure by breaking her nutcracker doll near the end of the party.

This was the only somber moment in an otherwise jubilant scene that was made possible by the fun and technically fair dance sequences executed by both the young children, Clara’s friends and the adults. It was also made possible with some well-timed comedic moments such the side-eye Malcolm Miranda (Butler) gave to party guests, the assistant governess trying hopelessly to catch the coats being tossed her way and the adorable little party girl who tripped Fritz and then smiled gleefully to the audience.

After all the guest, leave Clara falls asleep, and when she awakens she is surrounded by numerous mice shaking their tails and cleaning their whiskers. At this point in the show the dancers began to integrate the set pieces into the action, which is something I have not seen done to this extent in other local Nutcracker productions. For example, mice jumped out of the grandfather clock, and four troublemaking rats ate cheese on the couch while watching the Nutcracker (Ciaran Barlow) and Rat King (Christian Otto) battle it out center stage. Benjamin Barr, Trey Hileman, Ashton Pham-Davis and John Scullion had the audience laughing out loud with their stage antics, which included playing a game of Whac-A-Mole with the little soldiers standing up in a straight line upstage and even added pop culture references with the Floss dance and Pittsburgh Steelers Antonio Brown’s touchdown dance.

DBC’s Sophia Jackson and Chase Raine as the Snow Queen and King. Photo: David C. Harris/Times Frames Photography

Once the Rat King is defeated, Clara and the Nutcracker Prince are led into the Kingdom of snow where the Snow Queen (Sophia Jackson) and the Snow King (Chase Raine) are waiting for them. It was a rough start for the couple with their first lift, where Raine was supposed to arm press Jackson over his head. The error created a beat of tension for the duo before they completed the phrase with a fishbowl dip. Still, the couple didn’t let the mishap affect the rest of their partnering, which included various assisted jete leaps and press up shoulder sits. Raine was mindful of his hand placement when he assisted Jackson through a number of pirouettes and promenade in attitude, while Jackson tended to purse her lips in concertation before any turn, leg extension or lift, but then completed every movement with refinement.

The snow corps was also elegant in their body lines and group formations and attacked the springy pointe work with matching enthusiasm. And while their footwork started out heavy with the opening bourrees, the sound of their pointe shoes lessened as the dance went on.
In the second act of the show, Clara and her Prince are welcomed to the Kingdom of Sweets by a troupe of angels in the form of the youngest company members dressed in floor length gold gowns and bright smiles. As the couple is guided to their candied-covered throne The Sugar Plum Fairy (New York City Ballet’s Sterling Hyltin) and her Cavalier (New York City Ballet’s Andrew Veyette) make a grand entrance to much applause.

The second half of the show maintained the quick pace of the first half with divertissements that played to the dancers’ strengths, including flexibility, stamina, control, musicality and self-expression. Miguel Falcon and Macy Wheeler with Luke Hileman, Carlie Jacobs, Christian Otto and Audrey Ratcliff kicked it off with a sassy, syncopated performance in the Spanish variation filled with skirt swishes, grand battements and musical partnering.

Terrence Martin returned as a guest artist for DBC in the Arabian dance again this year, where he showed off his athetic ability in a couple of back hand springs as Lydia Louder and Isabella Poscente rhythmically moved around him. The Chinese variation, led by Courtney Raine, featured intricate pointe work and matching fan work.

The show had not one but four Russian Babas who were then matched with four young ladies in a very loud and boisterous dance number filled with stomping, clapping and unexpected partnering sequences. The grandest moment came when the boys paired off and then linked arms with each other and then two girls on their outside arms and began to run in a circle until they had enough momentum to lift the girls off the floor.

In DBC’s rendition, Mother Ginger (Gloria Ewerz) directed over a dozen gingerbread children through a series of elementary ballet moves as they waved their wooden spoons in the air. The Pastry Chefs in the back waving the oversized gingerbread men on large sticks were also a nice touch.

The Reeds didn’t quite keep up with the punctuated nuances in their music, but Lead Reeds Veronica Britt, Kendyll Jacobs and Tatum Jenkins all delivered strong performances. Flower leads Charlotte Kelsey and Christian Otto lacked chemistry, which impacted some of the physical connections in their partnering sequences, but they were much more confidant in their solo sections. At the same time the flower corps were enchanting with their graceful arm placements, accented pointe work and picturesque ending pose.

All this glitz and glam paved the way for guest artists Sterling Hyltin and Andrew Veyette as the Sugar Plum Fairy and Cavalier in the grand pas deux. The couple drew attention to the tender love story between the two characters with their purposeful hand and body connections as well as their expressive facials aimed at one another. Both sat in the pocket of the music, which heightened the audience’s admiration for the two professional dancers. Hyltin seems made for the Sugar Plum Fairy role with her breathy port de bra arms and risky pointe work. Veyette’s performance was a great example of what is expected from male ballet dancers in these classical roles.

In addition to his strength and dexterity in his solos, Veyette also showed the audinece what a strong support system he can be for Hyltin. Sometimes this meant stepping back while Hyltin performed a series of petit allegro jumps or simply walking in a circle while holding her hand. And of course Veyette was there to assist Hyltin when she jumped in the air and to effortlessly lift her over his head to the ooh’s and aah’s of the audience.

Audiences only get a taste of this type of partnering in most pre-  professional Nutcracker performances. But with a large cast that featured more than 20 young boys, teenagers and grown men, DBC’s Nutcracker performance gave the audience a unique opportunity to see traditional partnering moves in almost every dance sequence throughout the entire show, which then helped the female dancers to shine brighter.

» The second cast in Dallas Ballet Company’s The Nutcracker performs Dec. 7-9 at the Granville Arts Center in Garland.

This review was originally posted on TheaterJones.com.

 

Preview: Bruce Wood Dance’s All Bruce Performance

Shades of Bruce

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

>This preview was originally posted on TheaterJones.com.