Tag Archives: Dallas Dance

Dance News: Desmond Richardson and Dwight Rhoden join SMU dance faculty

 

 

Desmond-Richardson.-Photo-courtesy-of-Richardson.
Desmond Richardson. Photo: Gene Schiavone

WOW! I can not believe two of the industry’s most in demand choreographers will be joining the dance faculty at Southern Methodist University’s Meadows School of the Arts for the 2017-2018 school year. Desmond Richardson and Dwight Rhoden really started the contemporary dance movement with their founding of Complexions Contemporary Ballet in 1994. The idea was to reinvent dance using a mix of methods, styles and cultures, which have lead them to create some groundbreaking dance works, including  Higher Ground (2001), Moody Booty Blues (2006), Cry Me a River (2009) and Moon Over Jupiter (2010).

richardson_desmond_lg
Desmond Richardson. Photo courtesy of individual.

I got to speak with Desmond back in 2013 for TITAS’ annual Command Performance, which also marked his last season of dancing on stage. I was blown away with his openness both in the interview and on stage. It’s no wonder he has been called one of the greatest dancers of his generations. His extensive dance career includes The Alvin Ailey American Dance Theater, American Ballet Theater and Ballet Frankfurt under the direction of William Forsythe. He has also appeared with the San Francisco Ballet, Royal Swedish Opera Ballet, Washington Ballet and many others. Desmond is a Tony-nominated actor and the first black American principal dancer of American Ballet Theatre.

Dwight Rhoden started dancing at the age of 17 and has performed with Dayton Contemporary Dance Company, Les Ballet Jazz De Montreal and as a principal dancers with Alvin Ailey American Dance Theater. Under his and Richardson’s direction, Complexions has become a dance institution that is much in demand. Their need to create work that delivers a profound passion for diversity has really framed its vision and become the company’s hallmark. Rhoden is a beneficiary recipient of various honors and awards, including the New Yor Foundation for the Arts Award, The Choo San Goh Award for Choreography and The Ailey School’s Apex Award in recognition of his extensive contributes to the field of dance.

rhoden_dwight
Dwight Rhoden. Photo courtesy of individual.

I have meet both of them and I can honestly say they are the most down to earth individuals I have ever met in the dance industry. Both have strong viewers when it comes to presenting work and are very poetic with their descriptions of what they do. But, alas, I have never had the opportunity to take class with either one of them so you SMU dance students are pretty darn luckly!

I can’t watch to see the piece they set on the students!!

 

The duo will be teaching advanced ballet classes in the fall and spring and will also be choreographing a new work for the students.

 

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Dallas DanceFest Profile: Hailey von Schlehenreid

And here is my last profile for this weekend’s Dallas DanceFest. I hope you enjoyed learning more intimate details about some of these companies and their dancers. Hope to see you at Moody Performance Hall on Saturday! This profile was originally posted on TheaterJones.com.

Courtesy of Hailey von Schlehenreid

Dallas — With her busy work schedule which includes teaching and choreographing for various local dance organizations, Hailey von Schlehenried is proving that Dallas can be more than just an incubator for dance talent. Rather, it can also be a showcase for accomplished choreographers. Von Schlehenried first caught audience’s attention at Avant Chamber Ballet’s (ACB) Women’s Choreography Project last year with her piece, Yin and Yang. “Working with ACB was such a dream for me. I realized from that project that you have to trust yourself. A project won’t work out if you don’t believe it will.” She adds that the experience also taught her a lot about working with live accompaniment. “It’s difficult when you rehearse one way and you’re used to one thing and your dancers are used to rehearsing one way with recorded music. Working with the ACB dancers really helped me to be more open to the music I’m working with and appreciate the value of live orchestration.”

Originally from Johannesburg, South Africa, von Schlehenried is the resident choreographer and co-director of Royale Ballet Dance Academy in Dallas. She is a registered teacher with the RAD, a graduate from the Certificate in Ballet Teaching Studies (CBTS) and is proficient in many forms of dance, including ballet, lyrical, jazz, modern and Flamenco. She has been dancing and studying dance for more than 20 years and has been choreographing for the last six years. Her choreographic credits include Royale Ballet’s annual Nutcracker production, festivals, benefits and competitions. Von Schlehenried is also proficient in flamenco dance and performs as a guest artist with Daniel de Córdoba’s Bailes Españoles.  In 2017 she was chosen for Avant Chamber Ballet’s Women’s Choreography Project where her work Yin and Yang was commissioned.

As an emerging choreographer, von Schlehenried says she’s both nervous and excited about presenting her work Flower in Rain at this year’s Dallas DanceFest (DDF). The piece, which features music by Max Richter, is a contemporary ballet duet that she created on Texas Ballet Theater dancers Riley Moyano and Amanda Fairweather. As for why she selected these dancers, von Schlehenried says she was inspired by the couple’s on stage and off stage connection. “There is such an honesty and trust when they dance together and it’s really beautiful to watch.” She adds, “I was really in love with this recomposition by Max Richter for a long time and I knew I needed to create to it, and when these dancers walked in the room everything kind of came together. They inspired the movement and the music finished it off.”

In regards to the job market here in Dallas, von Schlehenried says that things have really picked up in the last couple of years, but there is still more work to be done. “As a choreographer, the opportunities have started to get a little better as I grow my network, but there is still a need to keep this going and create more opportunities and platforms for dancers and choreographers. There are so many amazing dancers and choreographers in Dallas and we need to keep them here.” Von Schlehenried believes DDF is a step in the right direction, and she is looking forward to seeing so many artists and dance genres being presented on one stage this weekend. She is especially excited to see Bruce Wood Dance, Texas Ballet Theater, Southern Methodist University’s Meadows Dance Ensemble and Dallas Black Dance Theatre. “I think it’s going to be a good two days of dance.”

» Hailey von Schlehenried’s piece, Flower in Rain, will be performed this Sunday at 3:30pm as part of Dallas DanceFest.

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

 

» More information about Dallas DanceFest is available at www.thedancecouncil.org

Avant Chamber Ballet Announces 2017-18 Women’s Choreography Project Recipient

Michelle Thompson Ulerich Dance Photo 2
Michelle Thompson Ulerich

Dallas – It was announced this week that New York-based choreographer Michelle Thompson Ulerich is this year’s winner of Avant Chamber Ballet’s (ACB) Women’s Choreography Project (WCP), which will take place April 21-22 at Moody Performance Hall in conjunction with ACB’s spring performance. Never one to just stick with the status quo, ACB Artistic Director Katie Cooper started the project in 2015 with the objective of providing more opportunities for up-and-coming female choreographers to showcase their work. Since then the WCP has gained quite a following in Dallas thanks to Cooper’s insistence of live orchestration and her eclectic programming, which has included works by herself, Shauna Davis, Elizabeth Gillapsy, Emily Hunter, Amy Diane Morrow, Janie Richards and Hailey von Schlehenried. Cooper continues to enrich the Dallas arts landscape with her “dare to be different” attitude when it comes to the rules and traditions surrounding classical ballet and the expectations that come with being a choreographer in this particular genre. Cooper has also successfully brought live music and dance back together, which I think is putting positive pressure on other professional companies in the area to find creative ways to incorporate more live music in their performances. I can’t wait to see what Cooper and ACB have in store for us in the coming years.

Below is Avant Chamber Ballet’s press release in its entirty:

Avant Chamber Ballet Announces Women’s Choreography Project Winner

FOR IMMEDIATE RELEASE
August 30, 2017

Dallas, TX – For the last three years, Dallas-based Avant Chamber Ballet has broken stereotypes and glass ceilings with live music and new works. This season’s Women’s Choreography Project presented in April 2018 is no different.  “You might not notice the imbalance and sexism in ballet from the outside,” says Avant artistic director Katie Cooper. “There are more female ballet dancers than male by far, but there are very few female choreographers getting commissions from professional ballet companies. With Women’s Choreography Project, we give emerging women choreographers the opportunity they need to take their careers to the next level.”


Avant Chamber Ballet held an international search for the right choreographer to commission a new work for this season. Out of over 50 applicants, Michelle Thompson Ulerich was chosen to be this year’s winner. “I am thrilled to be choreographing for the artists of Avant Chamber Ballet,” says Ulerich. “Texas was my home for 14 years, and I am looking forward to coming back to create and to bring some of my New York experiences with me.”

Michelle is a choreographer, dancer, and teacher in New York. In 2017, she will present new works in New York; Austin, Texas; Napa, California; and Spartanburg, South Carolina. Prior to moving to New York, she was a professional ballerina with Ballet Austin for 14 years. Michelle has been teaching ballet at SUNY Purchase since September 2016. She has created works for Ballet Spartanburg, Ballet Austin II,  Ballet Zaida, MOTION Dance Theatre. Her work for Avant Chamber Ballet will be presented on April 21-22, 2018 at Moody Performance Hall on the program Moving Music alongside masterworks by George Balanchine, Christopher Wheeldon and Paul Mejia.

 

Also commissioned this year through the Project is a new work from Kimi Nikaidoh. As the artistic director of Dallas’s Bruce Wood Dance, Kimi has choreographed for her own company of modern dancers but this will be her first commission with a professional ballet company. “I’m beyond lucky that Dallas provides me with the opportunity to create work for high-caliber modern and ballet dancers,” says Nikaidoh. “Working with the lovely ACB company will be a delight!”

 

MOVING MUSIC

Women’s Choreography Project

George Balanchine’s Valse Fantaisie

Christopher Wheeldon’s The American pas de deux

Paul Mejia’s Serenade in A

April 21-22ND, 2018

Moody Performance Hall, Dallas, TX

 

Tickets available through TicketDFW.com

Dallas DanceFest Profile: imPULSE Dance Project

Impuse dance project
Photo courtesy of imPULSE Dance Project

And yet another profile for Dallas DanceFest. This was originally posted on TheaterJones.com.

Artistic Director Anastasia Waters on the company’s mission and her expectations for their first showing at Dallas DanceFest.

Dallas — ImPULSE Dance Project (IDP) was created out of founder Anastasia Waters’ desire to change the way the general public perceives modern dance. IDP’s mission is to make dance more accessible for the general public by integrating their dance works into the environments that surround people in their everyday lives. The name stems from Waters’ impulse decision to make her dream a reality after a long internal struggle. “Though it has been a long time dream of mine, the thought was always very scary and overwhelming with the actual logistics of starting a company. Where will I get funding? Who will dance with me? Where will we dance? One day when all of these questions were running through my mind I had the impulse just to do it. So, that is where the name imPULSE Dance Project comes from and I have been acting on impulses in regards to this company ever since.”

Waters received her BFA in modern dance at Texas Christian University. During her time there she had the opportunity to perform in works by Susan Douglas Roberts, Elizabeth Gillaspy, Suki John and guest artists Robert Battle, Loretta Livingston and Alexander Beller. During Waters’ senior year she was awarded the Emerging Choreographer’s Award for her modern pieces Bedtime Story and OmnipotenceBedtime Story was also chosen to be performed and adjudicated at the 2010 American College Dance Festival. After dancing with Dallas-based Muscle Memory Dance Theatre for two years, Waters left to start her own company in 2012.

While this will be IDP’s first time presenting at Dallas DanceFest, the group is no stranger to festivals in general. The company actually premiered its very first work, True Colors, at the Barefoot Brigade Dance Festival in 2013 and has also performed at the Denton Dance Festival and Out of the Loop Fringe Festival. Waters credits dance festivals for helping IDP grow because she says they gave them an outlet to perform back in the beginning when they didn’t have the funding to put on their own productions. She adds, “Various festivals have helped us establish an audience and reach people we wouldn’t have otherwise. I believe they have also helped me acquire and keep dancers as they offer us more opportunities to perform, which is ultimately why we do what we do!”

For DDF 2017, IDP will perform Waters’ piece Between Wind and Water, which she explains is an abstract representation of vulnerability. “It is a dance on finding the courage to expose one’s deepest self in order to form real desired connections and relationships. In the dance these feelings are represented by images of wind and standing exposed in inclement weather.” The work features Waters’ signature movement style, which she says is very athletic and comes from her love of experimenting with power in dance so her movement contains a certain amount of weight and grounded quality.

As a first time presenter Waters says she is most looking forward to having the company share the stage with so many other talented companies in the area. She is also interested to see how her work translates onto a larger stage stating, “Most of the performances we do are held in very intimate black box settings, which I love, but we are all very excited to perform at Moody Performance Hall.”

» imPULSE Dance Project will be performing Between Wind and Water at Dallas DanceFest this Sunday at 3:30 p.m.

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

» More information about Dallas DanceFest is available at www.thedancecouncil.org

Dallas DanceFest Profile: Bruce Wood Dance

Austin Sora in Bruce Wood’s Zero Hour. Photo: Brian Guilliaux

And yet another profile piece for Dallas DanceFest. This features Bruce Wood Dance Company Member Austin Sora! This piece was originally posted on TheaterJones.com.

Company member Austin Sora on joining Bruce Wood Dance and what she’s looking forward to at this year’s Dallas DanceFest.

Dallas — Dallas DanceFest (DDF) will forever be dear to Austin Sora as this was where she made her performance debut with Bruce Wood Dance (BWD) in the late choreographer’s Requiem back in 2015. Since then Sora has really come into her own as an artist, beautifully acclimating to Wood’s quirky yet poetic movement style and finding deeper emotional connections to his work with the help of BWD Artistic Director Kimi Nikaidoh and Artistic Associates Joy Bollinger and Albert Drake.

“I like that Bruce has a very distinct aesthetic that is consistent with all his pieces even through there is such a variety of styles within that aesthetic. I love that it is kind of a marriage of technical skill and athleticism, but still very emotional and human.” She adds, “His work is also really personal and so, even though I never knew him, I feel like I have been able to get to know him through his work and through people who knew him and worked closely with him. That’s been a really special experience for me.”

Born in Toronto, Canada, Sora moved to New York City when she was accepted to Marymount Manhattan College where she earned a B.F.A in dance and a minor in arts management. It was during her senior year when she briefly crossed paths with Nikaidoh who was there setting a work for the senior showcase. “I wasn’t in her piece, but my friend David Escoto was and he went on to join BWD after graduation. It was actually David who mentioned my name to Kimi when she was looking for another female dancer, and so I came down to Dallas on kind of a trial contact and I have been here ever since.” This is Sora’s third season with the company.

Sora says she is excited to be dancing in an excerpt of Wood’s Red at this year’s DDF, which takes place Sept. 2-3 at Moody Performance Hall, formerly Dallas City Performance Hall in the Dallas Arts District. “Red is really physical and athletic and there’s a rawness to it, and the music is very driving. You just feel like there’s this constant struggle to keep on going amongst all the turmoil and chaos happening around you.” Sora points out that in rehearsal Joy would talk to them about the period of time in which Bruce created this piece, which was around when 9/11 happened, and how he didn’t intend for the piece to be about that, but it definitely influenced the work. “It’s very emotional and there’s a lot happening and I don’t even think that by the end you overcome the struggle. You just keep coming up against a wall that won’t let down.”

Sora also mentions the reasons she enjoys performing at DDF, which include getting a chance to perform for different audiences and the comradery she feels amongst the artists backstage. “The dance community here in Dallas is thriving and so, festivals like this are kind of like a celebration of that for me.” She continues, “It’s just exciting to see everyone together on the same stage. It’s always inspirational to see all the different dance groups that are out there. And for growing companies festivals are important as they help to build momentum and create new opportunities.”

» Bruce Wood Dance will be performing an excerpt of Red on Sunday afternoon at 3:30 p.m.

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

» More information about Dallas DanceFest is available at www.thedancecouncil.org

Dallas DanceFest Profile: Ballet Ensemble of Texas

And here is another profile on one of the local pre-professional ballet companies performing at Dallas DanceFest this weekend! This feature was originally posted on TheaterJones.com.
Ballet Ensemble of Texas. Photo: Cathy Vanover

Ballet Ensemble of Texas Artistic Director Allan Kinize on the benefits of dance festivals for aspiring professionals and what the company has in store for Dallas DanceFest 2017.

Dallas — Formed in 2001 by Lisa Slagle, Ballet Ensemble of Texas’ (BET) goal is to present quality ballet performances for the local communities and to provide advanced ballet students with the opportunity to prepare for a career in dance. Over the last 15 years BET has done just that with its tight knit group of fiercely driven and gifted dancers and the company’s refreshing renditions of classic story ballets such as The FirebirdCoppeliaThe Nutcracker, and Aurora’s Wedding. The company spends countless hours in the studio (Ballet Academy of Texas in Coppell) honing their musical aptitude, technical execution, stylistic versatility and performance quality, which typically result in packed performances throughout the year. Many of BET’s former dancers have gone on to dance professional with American Ballet Theater, Texas Ballet Theatre, Sarasota Ballet, Oklahoma City Ballet, Atlanta Ballet and Colorado Ballet, just to name a few.

For this year’s Dallas DanceFest (DDF), BET will be stepping outside its comfort zone slightly in Tammie Reinsch’s Generation#.Featuring the entire company, the work blends ballet, contemporary and modern movements with props, including oversized emojis created by Wendy Lamar, to tell a light-hearted tale of how modern technology is affecting the personal relationships among today’s youth. “Generation# is a fun-filled, but contemplative look at how all our ever evolving technology is affecting our lives, and specifically young lives,” says BET Artistic Director Allan Kinize.

Kinize has been an advocate for DDF from the beginning and BET has been fortunate to have presented work in three out of the last four events, including this year’s performance of Generation#. “As a director, I see many benefits in participating in these types of festivals. First and foremost such venues give our dancers another opportunity to show their talents to the viewing public. The dancers also get to see other companies perform, and they get the chance to meet those dancers in a supportive artistic setting.” He adds, “These festivals also give the choreographers of BET the opportunity to either choreograph a new work or to set something that deserves additional exposure.”

Kinize also notes that his dancers are always very enthusiastic about participating in DDF, and have expressed those thoughts to him this year and in the past. “DDF gives the dancers a chance to see what we are accomplishing and that of the other groups in the area. Also, performing in such a beautiful theater is a special bonus for them because the pieces look and feel professional and are managed by professionals.”

» BET will perform on Saturday, Sept. 2 at 8 p.m. at Moody Performance Hall, formerly Dallas City Performance Hall as part of DDF 2017.

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

 

» More information about Dallas DanceFest is available at www.thedancecouncil.org

Dallas DanceFest Profile: DGDG

chatter
Colby Calhoun in Chatter from DGDG. Photo: Lynn Lane

Here is the first of several profiles I am doing on companies performing at this year’s Dallas DanceFest. This one was originally posted on TheaterJones.com.

Dallas — Since stepping on to the Dallas arts scene six years ago Danielle Georgiou has had the opportunity to present her work in some pretty interesting spaces, including warehouses, art galleries, Klyde Warren Park, the Wyly Theatre, Hamon Hall, Bath House Cultural Center and the theater at Eastfield College. As one of the performance companies chosen to present at this year’s Dallas DanceFest (DFF), Georgiou will soon get to add Moody Performance Hall to this eclectic list of venues. “I have never presented any of my work on this stage before so, I am looking forward to this new experience and working with the facility’s technical and production crews. It will be interesting to see what happens.”

Created in 2014 under the guidance of arts patron Gayle Halperin and the Dance Council of North Texas, DDF strives to provide local and regional dance performance companies with the opportunity to showcase their work to a wider audience base while also giving them the chance to connect with their peers and experience work outside their own genres. This includes Georgiou’s own dance theater style, as she calls it, which is influenced by German choreographer Pina Bausch’s Tanztheater performance style and those of modern dance pioneers Martha Graham, Merce Cunningham and Paul Taylor. Together with her creative partner Justin Locklear, Georgiou has been able to produce work that is frank in nature, uninhibited in movement quality and thoroughly entertaining.

Regarding the couple’s working relationship Georgiou says, “Justin has brought out in me a new understanding of my own creative process. He constantly pushes and challenges me, and he is not afraid to ask the questions that I don’t really want to answer. He has given my work a particular context that wouldn’t necessarily be there without him.”

For DDF 2017 Danielle Georgiou Dance Group (DGDG) member Colby Calhoun will be performing, Chatter, a solo work Georgiou created for him two years ago. “Colby and I have a special connection in that we both have the same approach to dance making and other creative artistic processes, and we can understand each other without actually communicating.” She adds, “I was very lucky to find somebody who is also willing to throw themselves physically into movement, because as a performer my comfort area is to physically assert myself in order to find what the choreography is supposed to be, and Colby works much like me in that regard.”

An extremely physical work, Georgiou says the movement in Chatter represents the ongoing dialogue and many voices she hears inside her head all the time. “I find that my body and mind have a hard time resting and that is where Chatter started from, which was dealing with the push and pull of daily life and finding moments to try and quiet down, but never really being able to and just having this internal struggle with myself.” Georgiou adds that creating the piece was a cathartic experience for both her and Calhoun. “It felt good getting it out of my system and Colby has even said that after he performs it he feels relieved that he finished it. Watching him perform the piece, it’s a different experience each time.”

As far as what Georgiou is most looking forward to at this year’s DDF she says, “I know the festival’s audience base is going to be very different from our audience base so, I am interested to see what their reactions are to the type of work I make. A lot of times people are not sure what type of work I make so, I think this will be a great way for people to find out that yes I make dance, but I also make theater.” She adds, “And maybe this will encourage them to want to see some of the other works that we do that is this collaboration between different genres, and maybe it will help expand their knowledge of what dance can be. That it doesn’t have to be something very classical and traditional in nature. That it can explore new realms of movement and story.”

» Dallas DanceFest is 8 p.m. Saturday, Sept. 2; and 3:30 p.m. Sunday, Sept. 3, at Moody Performance Hall in the Dallas Arts District. Performances are:

 

8 p.m. Saturday, Sept. 2

  • Ballet Ensemble of Texas
  • Ballet Frontier of Texas
  • Dallas Black Dance Theatre
  • Danielle Georgiou Dance Group
  • Dark Circles Contemporary Dance
  • Indique Dance Company
  • Kat Barragan Dance
  • LakeCities Ballet Theatre
  • NobleMotion Dance
  • SMU Meadows Dance Ensemble
  • Texas Ballet Theater
  • Uno Más
  • Wanderlust Dance Project

 

3:30 p.m. Sunday, Sept. 3

  • AJ Garcia-Rameau
  • Arden Leone Dance Company
  • Bruce Wood Dance
  • Center for Ballet Arts
  • Contemporary Ballet Dallas
  • Dallas Ballet Company
  • DBDT:Encore!
  • Dallas Youth Repertory Project
  • Granadans
  • imPULSE Dance Project
  • Rhythm In Fusion Festival
  • Royale Ballet Dance Academy
  • Rhythmic Souls
  • Texas Ballet Theater School

 

» More information about Dallas DanceFest is available at www.thedancecouncil.org

Review: Donkey Beach, Danielle Georgiou Dance Group

Danielle Georgiou Dance Group captures the essence of the 1960s’ beach movies in Donkey Beach, part of AT&T Performing Arts Center’s Elevator Project.

Donkeybeach
Danielle Georgiou Dance Group in Donkey Beach. Photo: Mark Lowry

Dallas — As an artist Danielle Georgiou has always been a rule breaker. Looking over her portfolio of work these last few years, which includes Dirty Filthy Diamonds, NICE, and The Show About Men, you will notice that the only time she follows the rules is when she is about to break them. Georgiou is also not shy about addressing social taboo topics such as gender roles, sexual orientation and feminism in her work, but she does it in such a way that you don’t know whether to laugh or cringe. You typically end up doing both at the same time, which is one of the main draws of a Danielle Georgiou Dance Group (DGDG) show. The other being Georgiou’s ability to gather so many gifted local musicians, singers, actors and dancers in one place. This is something no other dance performance company has come close to doing here in Dallas.

Needless to say the expectations were high for DGDG’s newest production Donkey Beach, which premiered this weekend at Hamon Hall in the Winspear Opera House as part of AT&T Performing Arts Center’s Elevator Project. A well-suited collaborative effort among Georgiou, Justin Locklear (music and lyrics) and Ruben Carrazana (script), Donkey Beach is a parody of the 1960s beach party movie genre, which includes films like Gidget (1959), Beach Party (1963), Pajama Party (1964) and Beach Blanket Bingo (1965). Like the movies that inspired it, Donkey Beach seamlessly blends live surf rock played by Locklear, Trey Pendergrass and Cory Kosel (also known as the Beach Bums); popular dance moves at the time such as The Twist, The Shimmy and The Mashed Potato; and meticulously timed dialogue that includes a copious amount of ’60s slang like “can you dig it” and “hang ten” to create one totally awesome beach bash.

Justin Locklear in Donkey Beach. Photo: Mark Lowry

The insanely happy beach vibe is carried throughout the entire production, including the moving sets featuring fabric on wheels which unveil multiple life-size 3D ocean waves, a camp cabin that becomes a lifeguard stand and a small stage in an upstage left corner where the band is situated. Locklear keeps the surfer theme going with the costumes, which feature bold-patterned swim trucks for the men and brightly colored cover-ups for the women. And Lori Honeycutt does a dynamic job with the lighting which transitions from muted purples and flashes of white light in the camp scene to warm yellows and oranges during the beach party.

Known for its borderless performances, DGDG had to get creative when it came to the rectangular-sized space of Hamon Hall as well as the fact the audience would not be on a rake when viewing the show. DGDG solves the first problem right away by having some of the members enter from the back of the room in a militant-styled dance sequence, which welcomed us to Camp Walla Bang-Bang. The 14-member cast wears army green t-shirts over black biking shorts with plastic head pieces that resemble raincoats.

Georgiou uses simple movements such as heavy walking, pivot steps and repetitive arm gestures to represent the campers’ dull and monotonous state of being. As the campers are directed to state their name, bunk number and favorite color, viewers notice that some voices are clear as a bell (Hannah Brake, William Acker, Curtis Green and Carrazana) while others, including De’Ja Farr, Omar Padilla and Colby Calhoun, are harder to hear due to the speed at which they speak—they all adjust this by the next scene.

The second problem of the people in the back not being able to see some of the action up front is addressed by Locklear, who describes the action the same way a sports caster would—so not to exclude anyone from the fun.

Locklear and the band are the glue that holds the show together. Locklear sets the mood in his opening monologue, which is a combination of Dick Clark, Humphrey Bogart and Vincent Price rolled into one as he tells audiences how Donkey Beach came into existence. It started with an enchantress and evil gin (or genie), Locklear says with a wicked smile and a wink. To sum it up the two creatures get together and then break up, and in his heartbroken state the genie banishes the enchantress to the sea, but not before she turns him into a donkey. In order to cope with his new image, the donkey creates a place at the end of the world where the sun is always shining and the party never stops. Locklear’s delivery is kind of creepy yet inviting, with a hypnotic cadence that the audience can’t help but follow.

Georgiou’s modern dance background and tanztheater influences are scattered throughout the show, including the fluid body shapes and springy footwork of Gabe King, Green and Calhoun in one of their trios and Debbie Crawford and Matthew Clark’s jerky body isolations after drinking out of a bottle containing rain water. She even makes dancing bushes appear musical and exciting. Georgiou has a knack for tackling issues like such gender roles in non-confrontational ways with the aid of irony and humor. An example would be when Carrazana rubs up on the lifeguard (Brian Witkowicz) dressed in grass skirt, coconut bra and blonde wig as Witkowicz sings about young, soft bodies in bikinis.

Spoiler Alert: Near the end it is revealed that Witkowicz is the donkey and he must be punished for tricking the teenagers into drinking his magic water and basically brainwashing them to be happy all the time. Becki McDonald’s hauntingly beautiful solo (she’s wearing a seahorse mask; both it and the donkey mask, designed by Locklear, are fantastic) is a sweet note in the show as the performers manipulate strips of blue fabric stretched across the stage while she sings about coming out of the water. The dialogue between McDonald and Witkowicz hits home when he mentions the terrors and tragedies happening across the world as well as more personal tragedies such as heartbreak and rejection. And this is where Georgiou’s twist happens—but you’ll have to see it to find out what happens.

You can still see Donkey Beach today at 2 or 8 p.m. at Hamon Hall in the Winspear Opera House at the AT&T Performing Arts Center.

<<This review was originally posted on TheaterJones.com.

 

 

Preview: Danielle Georgiou Dance Group’s Donkey Beach

Postcard from Donkey Beach. Photo: Frank Robertson/DGDG

Danielle Georgiou Dance Group returns to its zany storylines and feminist roots in Donkey Beach, part of  AT&T Performing Arts Center’s Elevator Project.

Dallas — Over the last six years Danielle Georgiou has made a name for herself in the Dallas arts community for her unique collaborations with local singers, actors and musicians as well as for putting out work that is real and relevant and always pack a punch. Her use of originxal music, tanztheater (expressionist dance) and dark humor to bring attention to taboo topics such as gender roles, sexual orientation and feminism is both disconcerting and engaging at the same time. You can see all these elements at work in Danielle Georgiou Dance Group’s (DGDG) newest production, Donkey Beach, which premieres June 22-25 at Hamon Hall in the Winspear Opera House as part of AT&T Performing Arts Center’s Elevator Project.

Inspired by the beach party movies of the 1960s featuring Frankie Avalon and Annette Funicello, Georgiou and her team, including Justin Locklear and Ruben Carrazana, have created a similar setting where the sun always shines, the songs are about bikinis and surf boards and the teenagers say things like “gee whiz” and “cowabunga” while busting out classic ’60s dance moves like The Swim and The Mashed Potato. The concept for the show came to Georgiou while watching Disney’s Teen Beach 2 one evening. “I really liked the idea of being transported to a different time and place,” Georgiou says. “I also love the ’60s because it was the first time that women really had a voice in society and were comfortable in their own skin.” Georgiou adds that she’s also a fan of the femme fatale characters in the movies from the ’40s and ’50s.

The structure of the show is a musical with songs and dances woven in between dialogue and modern dance techniques such as weight sharing, concaved body shapes and pedestrian movements. “This is definitely a musical, but it doesn’t have the typical happily ever after at the end. I mean boy meets girl and the two of them kind of fall in love, but then everything starts to fall apart. There is no happy ending in this musical.” Georgiou doesn’t tell me this to spoil the ending of the run through I was about to see of Donkey Beach at Eastfield College in Dallas last Saturday afternoon. Actually, Locklear alludes to this fact multiple times in his opening monologue, which explains how Donkey Beach came into existence.

To sum it up, a seahorse enchantress and an evil gin—“it’s an evil genie,” band member Trey Pendergrass shouts out multiple times throughout the show—had a falling out and in her anger the enchantress turned the genie into a donkey. Heartbroken and looking like a literal ass the donkey creates a magical place where everyone is happy all the time. Locklear and the band then lead us into the opening scene, which depicts a bunch a miserable teenagers at a summer camp where it rains all the time. With Locklear’s urging the lead characters Jimmy (Matt Clark) and Susie (Debbie Crawford) drink from a bottle of donkey water that then opens up the portal to Donkey Beach. You can definitely draw some parallels between this story and that of William Shakespeare’s The Tempest, which also includes magical beings and a remote island.

The music for the show has a Beach Boys vibe with lyrics about bikinis, surf boards and beach parties, which will be performed live by Locklear (vocals and bass guitar), Pendergrass (percussion) and Cory Kosel (vocals and guitar). Like all of Georgiou’s productions, she uses these original tunes as a means to poke fun at specific societal norms and stereotypes with the ultimate goal of opening up the audiences’ eyes to certain issues in a non-threatening and usually ridiculously funny way. An example would be Crawford’s solo with a ukulele, “because of course she can play the ukulele,” Pendergrass states as he brings the instrument over to her. The song starts off light about young love, but then turns heavy when she questions why society makes excuses for men when it comes to domestic abuse and how society typically looks the other way when it happens. The song ends and the performers are quiet for a minute, allowing for the viewers to absorb the message, before Will Acker jumps up and says, “Dude you killed the mood. This is a bonfire!” With that cue the band starts playing and dance madness ensues. You also have to appreciate the irony of Carrazana portraying a woman complete with a grass skirt and coconut bra in a movie genre known for its plastic images.

Later in the show you will notice the performers make vague references about world events such as mass tragedies and natural disasters as well as smaller, more personal tragedies. When asked why she didn’t name specific tragedies like the recent bombing in Manchester, England, Georgiou responded that she didn’t want to limit the show to just the here and now. “I want it to represent all time periods, not just what is happening today. I want the show to mean something in a universal way.”

Georgiou loosely describes the show as having three acts: the first being the gloomy camp scene where we meet the teenage characters; the second on Donkey Beach where the characters are transformed into 1960s talking and dancing beach kids; and the final scene between the enchantress and the donkey, which Georgiou says contains the meat of the show. “This is where the bottom just drops out of the show. Everything before this is just pretense.” I don’t want to give the twist away, but I left the rehearsal pondering to myself if given a choice would I rather live in miserable reality or in a joyful lie.

>This preview was originally posted on TheaterJones.com.

 

Springing Forward: Dallas Black Dance Theatre Spring Celebration Series 2017

Stephen Mills’ One. Photo: Tony Spielberg
 Dallas Black Dance Theatre leaps into a new era with Stephen Mills’ Bounce and two works by new Artistic Director Briget L. Moore at its annual Spring Celebration Series.

Dallas — A rollercoaster of emotions, movement that changes in texture, weight and dimension, and jumps – lots of them. With its strong classical foundation and pas de deux like couplings, Ballet Austin Artistic Director Stephen Mills’ Bounce is a detour from what we normally see from Dallas Black Dance Theatre (DBDT). Well known for presenting works that honor the African American culture and related dance styles, it’s easy to forget that DBDT is also well-versed in modern, jazz and classical dance forms. The dancers prove this in Bounce, which will be performed alongside works by Twyla Tharp and DBDT’s new Artistic Director Bridget L. Moore at the company’s annual Spring Celebration Series, May 19-21, at the Charles and Dee Wyly Theatre in the Arts District.

In Bounce, the dancers’ strong classical training can be seen in their port de bras, controlled arabesques and jumps with deep plies, which Mills cleverly fused with grounded foot work, curvaceous spine movements and elastic body positions for a more contemporary look. And with no plotline or hidden messages to decipher the audience can just sit back and enjoy the way the dancers’ bodies interpret the music, which is an original score by Austin-based composer Graham Reynolds. Reynolds’ work has been featured in numerous movie soundtracks, including Before Midnight, Bernie and A Scanner Darkly and he is one of Mills’ favorite collaborators for original dance music.

Bridget L. Moore’s Uncharted Territory. Photo: Xavier Mack

Mills has always had a penchant for all things musical. Growing up in a small town in Kentucky, Mills’ extracurricular activities included piano lessons and drama club. It wasn’t until his first year of college when one of his theater requirements included him taking a ballet class that he discovered his passion for the art form. From there he jumped into every class he could find, including ballet, modern, jazz, tap and even African dance at the Ailey School. He would later join The Harkness Ballet and The American Dance Machine in New York before moving on to work with Ohard Naharin, Katherine Posin and Mark Dendy.

Since becoming artistic director of Ballet Austin in 2000, Mills has created a number of innovative and memorable works for the company, including Hamlet, The Taming of the Shrew and Light/The Holocaust & Humanity Project, his two-year, community-wide human rights collaboration. Most recently, Mills was awarded the Steinberg Award, the top honor at Le Festival des Arts de Saint-Sauveur International Choreographic Competition for One/the body’s grace.

Mills’ sophisticated understanding of music can be seen throughout Bounce from the opening sequence where the dancers bounce side-to-side to the syncopated beats of a xylophone; to his visually compelling use of movement canons and moments of stillness in the quartet with Claude Alexander, III, Zion Pradier, Sean J. Smith and De’ Anthony Vaughan accompanied by the harmonious tinkering of a piano. While I didn’t get to see Mills at the rehearsal of Bounce I attended last week at DBDT’s main studio in downtown Dallas I did get to see international choreographer and Dallas native Bridget L. Moore in the studio – an opportunity I have been looking forward to since it was announced she would be taking over as artistic director earlier this year.

I was eager to see how she would interact with the dancers now that she has become a permanent fixture in the organization. She has worked with the company on many different occasions, but it has always been in a visiting artist capacity. While I wasn’t surprised with her straight-forward, hands-on approach during notes, I was inspired by her thoughtful individual critiques, which were focused on helping the dancers continue to growth artistically for the long haul and not just in the moment.

A prime example was her feedback for Alyssa Harrington regarding one of her duet sections with Alexander. “You have such beautiful lines, but there’s still more you can do to bring us in,” Moore says. “Push to elongate more and reach behind that knee. Don’t just rely on the lines you have.” The movement phrase Moore was referring to is when Harrington developes her right leg up as she leans into Alexander before she springs back onto that leg in an arabesque hold with her arms reaching forward. Harrington’s mind/body connection was much stronger after hearing Moore’s comments. She was able to stretch through her movement more, which did indeed draw my eye in.

One of the things Moore wanted the group as a whole to continue working on is their performance quality. Because the work keeps bouncing back and forth between various emotions and moods such as anger, longing, flirtation and joy, it’s imperative that the dancers remain in the zone if they want the piece to keep the audience engaged from start to finish. “You have to continue building your performance quality while also executing the movement at the same time. You need to figure out how to connect more with the movement and your partner so the piece reads well.”

You can find out how well the piece reads at Dallas Black Dance Theatre’s Spring Celebration Series, May 19-21, at the Dee and Charles Wyly Theatre in the Dallas Arts District. In addition to Stephen Mills’ Bounce, the program also includes Bridget L. Moore’s Southern Recollection: For Romare Bearden and Uncharted Territory as well as Twyla Tharp’s 1983 Sinatra Suite© and a special guest performance by Ballet Austin, performing Mills’ One.

<< This preview was originally posted on TheaterJones.com.