Tag Archives: Justin Locklear

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

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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.

 

Preview: War Flower, Danielle Georgiou Dance Group

Hive Minded

Danielle Georgiou Dance Group uses movement, text and original music to depict the democratic nature of honeybees in the new work War Flower at the Bath House Cultural Center.

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War Flower from Danielle Georgiou Dance Group. Photo: Steven Visneau

Dallas — “Unsettling” was the first word that came to mind as I watched Danielle Georgiou Dance Group (DGDG) rehearse War Flower, Georgiou’s latest theatrical dance work, which explores the inner workings of animal societies such as honeybees for insights into the human condition, at the Bath House Cultural Center in Dallas last Friday evening. The heavy electronic beat Donovan Jones plays in the beginning helps set the pace for performer Stephanie Cleghorn Jasso’s passion-filled monologue, which starts with the line “The bees came in the summer of two thousand and whatever.”

Dressed in a modest, floor-length cream dress with a wreath of flowers on top her head, Jasso moves purposely around the minimally adorned space (strips of artificial grass, white plastic chairs and a whole wall decorated in vines with “The Hive” spelled out in twinkling lights) as she tells the story of man’s creation using verses from the Bible. She finishes up by saying “welcome home,” which was the cue for the other 15 performers, all dressed in soft, floral-printed tops and dresses, to come in running and screaming like cavemen. The primitive movement, i.e. concaved shapes, heavy tailbones, rolling and crawling around on all fours, is right in Georgiou’s wheelhouse, along with theatrics, videography and soundscape.

War Flower from Danielle Georgiou Dance Group. Photo: Steven Visneau

War Flower is Georgiou’s grandest production to date with a cast of 19, including Georgiou, sound specialist Donovan Jones, conceptual designer Justin Locklear and lighting designer Lori Honeycutt, and also features a number of moving parts, including live music, video and small machinery. When asked about the large cast Georgiou says, “I wanted a large cast for the work to help visually build the idea of a community and demonstrate the rituals acts in the piece.” As for performing in her own work, something she hasn’t done in the last couple of years, Georgiou says that was a natural decision.

“When I started working on movement for War Flower in February of 2016 for the faculty dance concert at Eastfield College, I was working with a cast of four dancers, and I slowly began to find myself in the piece with them. Then when it became time to bring in the full cast for the premiere production it just made sense to remain a part of the show. As a dancer I was intimately connected with the work and I almost couldn’t take myself away from it.”

Back to the rehearsal. After the caveman dance, Dallas actor, director and playwright Ruben Carrazana steps forward and begins explaining the finer points of being a honeybee, including the fact that they live to die, to newcomer Vinay Naik. And similar to how Virgil leads Dante through the nine circles of hell, Carrazana then leads Naik through the social and political hierarchy of honeybees while also touching on some of the most controversial human belief systems in the U.S., including Catholicism, Scientology and the Democratic Parties.

Georgiou is known for tackling controversial topics such as sexuality and gender roles in ironic and poignant ways and War Flower appears to be no different in this aspect. Her clever use of metaphors and pop culture references allow viewers to enjoy the show even when their politics don’t align. For example, the text she uses in the show includes sections from The Bible, The Federalist Papers, John Milton’s Paradise Lost, Thomas Paine’s Common Sense as well as lyrics from popular Jay-Z and Nicki Minaj songs. Her decision to center the piece around the lifecycle of honeybees stems from her readings of Honeybee Democracy by animal behaviorist Thomas D. Seeley. Part of the book synopsis reads, “Honeybees make decisions collectively and democratically. Every year, faced with the life-or-death problem of choosing and traveling to a new home, honeybees stake everything on a process that includes collective fact-finding, vigorous debate and consensus building.”

Georgiou describes these tenets through a series of repetitive movement phrases that are executed singularly and collectively while someone is reciting text or performing a ritualistic action such as administering the Kool-Aid to a new cult member. There is also a scene where Carrazana asks Naik a list of yes or no questions in a rapid fire manner while Georgiou checks Naik’s body for signs of stress. This scene is eerily similar to the auditing sessions I recently saw on Alex Gibney’s HBO documentary Going Clear: Scientology and the Prison of Belief, which Georgiou did confirm later was her inspiration for the section. She also told me that she got the list of questions from a personality test for Scientologists and a questionnaire that determines your political party, both of which she found online.

Most of the movement in War Flower is simplistic in nature – a lot of pedestrian walking and gesturing, pivoting body isolations and loose hips – but when performed in unison by the group easily captures the essence of the hive mind mentality. Georgiou explains, “For me, the hive mind mentality occurs when a group of people come to the same thought at the same time. Or when people act in unison without any foresight, communication or practice. It’s something instinctual and real. It’s a raw response; a decision made from the heart and gut, not the head.”

She continues, “It’s the group mind at work and that’s what really interested me. How we can make decisions in our hive without ever talking or without ever really knowing each other. It’s both terrifying and enticing. How we act in unison with our social groups, our friend groups, our families, without ever really being aware of where the initial inspiration came from.”

War Flower runs Jan 19-21 and 26-28, at the Bath House Cultural Center in Dallas.

>This preview was originally posted on TheaterJones.com.

 

Review: The Show About Men, Danielle Georgiou Dance Group

Danielle Georgiou Dance Group picks apart some age-old male stereotypes using song and dance and a balance of darkness and humor in The Show About Men.

The Show About Men from DGDG. Photo: DeAndre Upshaw

Dallas — Man up! Real men Shave! Don’t be a D***! A Barbie is not a boy’s toy!

These are a just a few of the societal catchphrases that Danielle Georgiou and her troupe of artistically gifted performers addressed head on in the reprisal of The Show About Men at the Performance Hall at Eastfield College on Friday evening. After receiving rave reviews at the Festival of Independent Theatres in Dallas last summer,Danielle Georgiou Dance Group (DGDG) decided to bring the show back for this limited engagement and with a few production enhancements including two new songs and additional cast members Ruben Carrazana and Nick Leos who fit right in to this wacky boy’s club.

If you have seen any of Georgiou’s work in the last couple of years, including Dirty Filthy Diamonds and NICE, then you know that you aren’t going to just sit and watch passively from the audience. No, you are going to experience the show right alongside the performers thanks to Georgiou’s artistic philosophy which includes immersing the audience into the environment she and the performers have created, while expressing through dance and theater topics that many may find otherwise unapproachable. The Show About Men doesn’t disappoint in this regard.

Throughout the performance, the men relate stories based on their personal experiences, which range from sexuality, complex relationships with other males (fathers/friends/sons), responsibilities of providing for families or being in positions of authority and permission to be vulnerable, in need of love and to be afraid. These personal stories help make the show more accessible and prevent viewers from passing their own judgments as we were completely captivated by the individuals’ words and body language.

The Show About Men from DGDG. Photo: DeAndre Upshaw

Fear is the motivator in the opening segment as William Acker, Colby Calhoun, Ruben Carrazana, Matthew Clark, Curtis Green, Gabriel King and Nick Leos (sadly DGDG conceptual designer Justin Locklear was unable to perform) repeatedly slapp their thighs, chests and heads while chanting phrases like “Fear! Fear of myself! Fear of rejection! Fear of saying the wrong things!” The phrases are shouted with drill sergeant-intensity and are accompanied with militant walking steps and tense posturing. The mood invoked by their minimal clothing (boxers and thermal tank tops, a.k.a. “wife-beaters”), aggressive gesturing and frantic shouting is at first intimidating. But Georgiou and Locklear once again work their magic and right before the tension becomes too overwhelming the performers suddenly yell “bugs!” and start trembling, releasing the built-up tension in the room.

Georgiou also manipulates the venue to aid in her mission to include the audience into the action. The 30 or so audience members were escorted onstage and behind the red curtain where a gritty bar scene awaited us complete with dingy lighting, a variety of mismatched tables and chairs, a long bar to one side, lone chairs and a piano on the other as well as a large hand-written sign welcoming viewers to Dick’s All Night Bar & Karaoke.

As the less-than-90-minute production unfolded the bar was transformed into a sanctuary of sorts for the seven male performers, allowing them to speak freely about what it means to be a man. In a very candid group conversation the men shouted out their answers to the age old question: what makes a man a man? Answers varied from rational to ridiculous such as when a suggestion that men were “handy around the house” turned into “handsy” as Leos groped himself, and some answers were contradictory, such as that men are both knowledgeable and stupid. The conservation ended with a randy song and dance number that had the men performing numerous pelvic thrusts and booty shakes while colorfully describing the male sex organ to a tune resembling The Hokey Pokey, composed by Trey Pendergrass and Locklear.

Another lighthearted group number had the performers standing up against makeshift urinals discussing the deficiencies of men’s restrooms relative to women’s restrooms which ended in the group singing about a “gender neutral bathroom in the sky.” Carrazana’s magnetic personality and awkward coming-of-age stories regarding asking a girl out and proudly sporting a so-called moustache at age 12 also had the audience in stitches. And as the only female in the show, Kayla Anderson did a beautiful job of portraying the various roles women play in a man’s life, including those of wife, mother, friend and lover.

But not every experience ends on a jovial note. While Calhoun serenades us about how he never thought of being a man “until you told me so,” King and Green execute a series of push-and-pull partnering exchanges featuring concaved torso movements, high chest arcs and body dips. Green’s journey to manhood involves joining the army, and he didn’t miss the irony of being a gay soldier in the “don’t ask don’t tell” days who would ultimately win the manly solider of the year award. The other performers’ subtle marching steps and pivot turns are done in contingent and round out Green’s tale. King speaks about how he felt like a man after his first physical argument with his father, depicted visually by two performers in the background.

Every artist strives to influence a person’s perception pertaining to a certain topic or theme, but sometimes they miss the mark. Still, DGDG succeeds in altering the audiences’ perception of what society deems to be manly behavior by reminding us, through Pendergrass’ monologue near the end, that we are all human and therefore should be allowed to express all the emotions that come with that privilege freely and without judgment.

This review was originally posted on TheaterJones.com.