Tag Archives: Dallas Dance

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.

 

 

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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.

 

Preview: Dark Circles Contemporary Dance’s Aladdin, Habibi

MAGIC MOVES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

>This preview was originally posted on TheaterJones.com.

 

Preview: Texas Ballet Theater’s Cleopatra

Dancing Queen

Carolyn Judson on her role as the Queen of the Nile in Texas Ballet Theater’s production of Cleopatra in Fort Worth this weekend.

Carolyn Judson as Cleopatra. Photo: Steven Visneau

Fort Worth — With her girl-next-door looks and sweet disposition, Carolyn Judson is the obvious choice to play the female lead in story ballets such as GiselleCinderellaRomeo and Juliet and The Nutcracker. In addition to her physical attributes, Judson’s penchant for softer, more pliable body positions, delicate foot work and beautifully drawn out leg extensions also make for easy casting decisions. But this weekend she will be trading in these sweet roles for something more seductive in Texas Ballet Theater’s (TBT) Cleopatra at Bass Performance Hall in Fort Worth.

Transforming into this powerful temptress has been a fun challenge for Judson who also played the part in TBT’s 2009 production of Cleopatra. But because back then she only got the role last minute, Judson says she was more focused on learning the steps than working on the characterization, something she hopes to rectify this time around.

“This time around I really wanted to try and capture that strong woman human quality that I think is Cleopatra,” Judson says.

As to how she accomplished this task Judson says timing both in the literal sense and where she is artistically speaking played a pivotal role in the rehearsal process. “Well, for one thing I have had more time to devote to the character. I also have more experience to pull from and richer character development than I did years ago, which has really helped because this role is so emotionally draining.”

Judson is the type of dancer who learns by doing the movement as it materializes from the choreographer. So, when rehearsing for Cleopatra she says she retains movement best when she is copying what TBT Artistic Director Ben Stevenson is doing alongside her. But when it comes to understanding a certain feeling or emotion, Judson says she will usually watch Stevenson from the front so she doesn’t miss any of his nuances.

For this weekend’s performance Judson will be reunited with her former Cleopatra partner Andre Silva, whom she says she used to partner with all the time before he left the company only to return a couple of years ago. “Other than doing the sugar plum fairy variation in The Nutcracker last season this is our first full-length ballet together since he has come back, and we’re just really excited to be working together again. That we have been building on things that we’ve experienced in the past 16 years here has made our bond even stronger and we’re really enjoying our work together.”

Another beautiful bonus of TBT’s Cleopatra performance is the live accompaniment provided by the Fort Worth Symphony Orchestra and conductor Miguel Harth-Bedoya. Judson points out that the majority of rehearsals have been to recorded music and it wasn’t until two weeks prior to the show that the conductor came to the studio to lay the music out on the piano.

“This way he can get used to our tempos and we can get used to doing something that’s not going to be always the same.” She adds, “This is important because it does takes quite a bit of rearranging your brain when dancing to live music since our minds kind of go on autopilot with a recording a lot of the time. So, it’s really helpful for us to have those two weeks before to get used to the music for both the dancers and the conductor.” She also notes that the company will not get to perform with the full orchestra until the Wednesday before the show.

A fun fact I learned about Judson is that during performances with live music she likes to find moments in the show to make eye contact with the conductor. “I think there are times when it’s appropriate to look at the conductor during a performance. For example, whenever I’m taking a bow I end up looking at him as sort of a thank you because this is such a nice collaboration between musicians and artists and so it’s much more enjoyable for us to feel like we are all working on the same project and not just two separate entities.” She adds, “I don’t look at the conductor all the way through the ballet, but I think there are times when you can really bring him in to the action on stage.”

It’s hard to talk to any professional ballet dancer nowadays without bringing up the lawsuit against New York City Ballet and Principal Chase Finlay and other scandals involving the company over the last year. With this in mind I wanted to know what steps, if any, has TBT taken to ensure that its dancers and staff feel safe and supported. “Actually at the end of last season we did have a company come in and work with us on just being mindful of how we talk to each other and how we treat each other. We also have our school here in the same building and just being aware of treatment of the children as well especially since some of the company dancers are also teachers at the school.”

She adds, “So yes we did go through a program with tests and educational information just to make sure that everyone is on the same page. And we are so lucky that we have a really great working environment here and we all consider each other family and in fact most of us are married to other people in the company.”

You can see Judson in Texas Ballet Theater’s production of Cleopatra Sept. 28-30 at Bass Performance Hall in Fort Worth.

This preview was originally posted on TheaterJones.com.

 

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

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

1519375871-March-dance-roundup-Bridget-L-Moore
Bridget L. Moore (second from left) rehearses Following Echoes with Bruce Wood Dance. Photo: Sharen Bradford/The Dancing Image

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

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

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

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

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

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

 

 

 

 

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

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

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

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

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

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

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

 

 

Bruce Wood Dance Announces New Artistic Director

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

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

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

 

FOR IMMEDIATE RELEASE

August 27, 2018

Bruce Wood Dance Announces New Artistic Leadership

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

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

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

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

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

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

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

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

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

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

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

Dallas Dances: Brandi Coleman Dance

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

Brandi Coleman Dance. Photo: Andrew Garvis

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

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

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

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

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

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

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

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

This profile was originally posted on TheaterJones.com.

 

SIDEBAR:

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

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

 

 

 

 

 

Dallas Dances: Jordan Fuchs Company

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

Jordan Fuchs’ Torsion from 2017. Photo: Jordan Fuchs

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

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

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

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

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

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

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

 

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