Tag Archives: Moody Performance Hall

Avant Chamber Ballet: Morphoses

Transforming Ballet

Avant Chamber Ballet kicks off its season with a triple bill featuring Christopher Wheeldon’s Morphoses and two works by Katie Cooper at Moody Performance Hall.

Photo: Dickie Hill
Avant Chamber Ballet presents Morphoses

 

Dallas — It has been a busy summer for Avant Chamber Ballet (ACB). In addition to preparing for its 2019-20 season, which kicks off with Morphoses Sept. 7-8 at Moody Performance Hall, the company also moved into its own studio space in the Dallas Design District in July. ACB Artistic Director Katie Cooper says that having their own space has been transformative for the company.

In previous years, Cooper says that the company would not have been able to put on a fall show because of the limits of renting or being lent space owned by ballet schools. “We had to wait till summer intensives and summer classes were over for us to have daytime hours.” This meant either rushing to put a performance together in late September or competing with a busy October arts month.

She adds, “So for us to find this weekend, and it worked for everyone involved, including musicians and everything, I am super happy and lucky that everything aligned for our fall show.”

Even though the company is heading into its seventh full season, Cooper says that in many ways this feels like their first year as a real company. Cooper explains, “We’ve transitioned to paying the dancers weekly, which is huge. And it makes sense for the dancers be paid weekly because every week that they’re working is actually a good work week now that we have a home.”

This weekend’s triple bill includes Christopher Wheeldon’s Morphoses, Cooper’s Sisterhood and the world premiere of Cooper’s Brahms Trio.

Regarding the program, Cooper says, “It feels like my miracle repertory because there was so many different puzzle pieces that had to come together and I am just so excited about it.”

One of these puzzle pieces was when the schedules of musicians Alexander Kerr (Dallas Symphony Orchestra Concertmaster), David Cooper (ACB Musical Director and Chicago Symphony Orchestra Principal Horn and Cooper’s husband) and Fei-Fei Dong (international piano soloist) aligned so they could perform alongside ACB in Cooper’s Brahms Trio, which is named after the work composed by Johannes Brahms.

Cooper says that she has always wanted to choreograph to the Brahms Trio and describes the music as very danceable, beautiful and romantic. She also says she wanted to do the classical music justice by only using classical choreography.

“I really wanted to do it well because it is a very classical piece of music and classical ballet,” Cooper says about the choreography for the piece. “And unless you do classical ballet right then it’s not good. It’s almost easier to pull off something really contemporary and new because when it’s classical it has to be well-rehearsed, interesting and clean.”

She adds, “The choreography has to be really good because there’s no bells and whistles or quirkiness that’s going to keep the audience’s attention. It really has to be beautiful, musical and interesting in its purity and the reflection of the music.”

Also on the program is Wheeldon’s Morphoses. As Cooper proudly states, ACB is only the third ballet company to perform the work after New York City Ballet and Washington Ballet. For those unfamiliar with the ballet, Morphoses is a complex and athletic ballet for four dancers set to György Ligeti’s String Quartet No. 1. ACB’s cast includes Juliann McAloon, Kara Zimmerman, Alexander Akulov and Marlen Alimanov. The music will also be performed live by Cezanne Quartet.

Rounding out the evening is Cooper’s Sisterhood, which the company premiered last May. The work features music by composer Quinn Mason and is a nice departure from Cooper’s classical roots. Instead of tutus and pointe shoes the dancers perform in trendy sportswear and sneakers.

When asked about these particular choices Cooper says, “I wanted to challenge myself with something different with the sneakers and clothing. Sneaker ballets are such a specific modern American thing. Just think of Jerome Robbins and Justin Peck does a lot of them now. I just wanted to explore something new, and that music I just loved.”

Cooper adds that putting Sisterhood on this program just made sense because it creates a nice balance with the other works. “The three ballets are so incredibly different and that’s what you always hope for in a triple bill. That they all have their own internal world and they’re all radically different.”

Looking back on the last several years Cooper says the company has really developed into what she wanted. “I always said I wanted a company that I would have wanted to dance to in. That every show there’s good stuff that’s fulfilling for the artists both physically, mentally and emotionally.”

“To me, being able to present this season that we have going is really finally the culmination of a lot of years of work.”

>This preview was originally posted on TheaterJones.com.

 

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Dallas Dances 2019: BWD

Dallas Dances Profile: Bruce Wood Dance

Company member Olivia Rehrman on learning Bruce Wood ‘s movement and performing a section of Garrett Smith’s Forbidden Paths at Dallas Dances this weekend. 

Photo: Sharen Bradford/The Dancing Image
Olivia Rehrman, center, in Garrett Smith’s Forbidden Paths, performed by Bruce Wood Dance

 

Dallas — Even though she never knew him Olivia Rehrman says she feels a strong connection with the late Bruce Wood through his movement aesthetic and those who knew the choreographer well, including Bruce Wood Dance (BWD) artistic staff members Kimi Nikaidoh, Joy Bollinger and Gayle Halperin.

“I really connected with the technical aspect of his movement,” says Rehrman who is celebrating her fourth season with the company. “I think I’m a pretty clean technical dancer, and his movement is very technical, strong and powerful.”

She adds, “What didn’t click right away was the partnering. All the transitions in his work are so smooth and the partnering I did before didn’t involve a lot of overhead lifts so the hardest part for me was learning how to come in and out of the floor with a partner.”

A Dallas native, Rehrman grew up training at the Academy of Dance Arts. She continued her training at The University of Arizona where she graduated in 2012 with a BFA in dance. Before joining BWD in 2016, Rehrman spent four seasons with the world-renowned jazz company, River North Dance Chicago.

During her time with BWD Rehrman has gotten to perform in works by Wood, Yin Yue, Kate Skarpetowska, Bridget L. Moore, Nikaidoh, Bollinger and Albert Drake III. When she’s not in the studio with BWD Rehrman can be found teaching ballet and modern at Tuzer Dance Center.

Rehrman says her favorite Wood work is the crowd pleasing RED. “It is so powerful and so exhausting to dance, but it is so rewarding when you push through it to the end.”

BWD actually performed RED at Dallas Dances 2017 at Moody Performance Hall, which is presented by the Dance Council of North Texas. At this year’s Dallas Dances BWD will be performing the third section of Garrett Smith’s Forbidden Paths, which the company premiered at its June performance.

In the last section of his piece, which was created in protest of an Iranian law that prohibits people from dancing in public, Smith has the dancers strip off their baggy clothes to reveal skimpy black shorts and tops. When asked about the costume choice Rehrman says, “I am not a modest person so the costume didn’t really bother me.”

She continues, “If anything, the affect the costume had on me is when I was wearing baggier clothes I felt like it was easier to make my movement look grounded or grungier almost. And being stripped down at the end you kind of want to physically come out of the floor, but you can’t do that because his movement is so grounded and you have to use your plie so much. So, I think physically the costume changed my movement and I had to kind of fight against that.”

As for what it was like working with Smith on this piece Rehrman says, “This experience has taught me to not take for granted what I do every day. So on those days that I am tired and don’t really feel like dancing I remind myself that not everyone has the luxury to dance the way I do.”

BWD will be performing Forbidden Paths as part of Dallas Dances’ Saturday program at Moody Performance Hall.

>This profile was originally posted on TheaterJones.com.

 

 

Dallas Dances 2019: DBDT

Dallas Dances Profile: DBDT

Dallas Black Dance Theatre’s Xavier Mack on his second season with the company and performing Darrell Grand Moultrie’s Execution of a Sentiment.

Photo: Avitava Sarkar
Xavier Mack in Execution of a Sentiment

 

Dallas — Xavier Mack began his dance training with Divine Dance Institute in Capitol Heights, Maryland. He went on to attend the University of Maryland-Baltimore County where he earned a BA in Modern Language and Linguistics. Mack’s says his dance journey with the Dallas Black Dance Theatre (DBDT) organization started at one of the company’s summer intensives.

“I met Nycole Ray, the director of DBDT: Encore!, when I attended DBDT’s 2016 summer intensive,” Mack says. “From there, we stayed in contact while I was completing my college studies. Mrs. Ray offered me a contract upon graduation.”

Mack spent one season with DBDT: Encore! before he was asked to join DBDT in 2018. When asked about the move from DBDT: Encore! to DBDT Mack says the transition wasn’t a difficult one. He explains, “The standard of excellence is high for both companies. The warm environment of the established DBDT dancers also helped make my transition painless.”

Mack also credits DBDT Artistic Director Melissa M. Young for creating an environment where the dancers feel comfortable taking risks, which, in the long run, helps them become better artists and individuals. “Since being under Melissa’s leadership, I am better at managing my goals, instead of letting my goals manage me. She often reminds us to take things one step at a time (literally and figuratively), one hour at a time, and one day at a time.”

Mack adds, “With the advice of this peaceful approach I’ve noticed that I have been able to meet more of my personal marks.”

For this year’s Dallas Dances, DBDT will be presenting Darrell Grand Moultrie’s Execution of a Sentiment set to music by Ezio Bosso. The company premiered the piece at its 2019 Spring Celebration Series.  Talking about the concept of the work Mack says that the piece does not have a general feeling. Instead it has many different feelings sprinkled throughout its three sections.

“There are moments of somber stillness. Then, there are contrasting moments buzzing with intensity. In fact, the mission of the movements is to physicalize emotions that are normally communicated verbally.”

As far as what he feels when performing the work, Mack says, “I feel electrically charged. Especially during the third section. There is something about the dramatic music and the dazzling work of my beautiful team that gets me going!”

DBDT will be performing Execution of a Sentiment as part of Dallas Dances’ Saturday program at Moody Performance Hall.

> This profile was originally posted on TheaterJones.com

 

Ballet North Texas Announces 2019-20 Season

BNT

The first time I spoke to Nicolina Lawson, the artistic director of Ballet North Texas (BNT), was last winter when I interviewed her about the company’s first Nutcracker production, which the company performed at venues in Dallas, Terrell and Palestine. She impressed me with her drive and clear focus regarding her plans for the company as well as her ability to multi-task with two young kids in tow. And I believe she is expecting baby #3 this fall.

Lawson also knows her way around a sewing machine. I know this because I  recently talked to her about making BNT’s Nutcracker costumes for a piece I wrrote for the Dance Council of North Texas’ DANCE North Texas publication.

During this conversation Lawson told me she had some big news to announce in the next couple of weeks. The big news turned out to be the lineup for BNT’s second season, which runs from Sept. 2019 to July 2020.

Leading off the season will be BNT’s annual production of Night on the Trinity. It will feature Associate Artistic Director Anna Sessions’ Mélange d’épices, Arthur Saint-Léon and Fanny Cerrito’s classic La Vivandière, two world premieres by Lawson and Cindy Michaels as well as a guest performance by Ballet Frontier of Texas. Performances will be held Sept. 19-20 at Moody Performance Hall in Dallas and Oct. 12 at the Scott Theater in Fort Worth.

BNT’s Nutcracker will return to the stage for two productions on Nov. 24 and Dec. 20-21. Close to 60 children’s rolls are cast to join BNT’s Nutcracker, which is choreographed by Lawson to Tchaikovsky’s famous score.

In April 2020 BNT will present Cinderella at the Irving Arts Center. The Company will venture into Prokofiev’s haunting score to transport the lonely heroin from her wistful fireside dreams to a dazzling palace ball where she will meet her prince.

The season will conclude with Shakespeare’s comedic romance of A Midsummer Night’s Dream at Moody Performance Hall in July. The ballet follows the quarrels of King and Queen of the Fairies and the mayhem of mismatched lovers, abetted by mischief-maker Puck. All coming to a resolve with the infamous “Wedding March” by Felix Mendelssohn.

Tickets will be available soon. For more information visit www.balletnorthtexas.org.

Join Ballet North Texas as we embark on our next step to becoming one of the top tier ballet companies Dallas/Fort Worth has to offer.

We are holding this fundraiser to secure assets for the construction of our brand-new facility. When this new space is complete, we will be introducing North Texas Conservatory to serve as the premier school of Ballet North Texas. North Texas Conservatory will offer world class dance and music lessons for students of all ages and abilities. It is with your commitment and dedication that enables us to take this next step towards building the conservatory as our founders have envisioned.

All funds from this event will benefit Ballet North Texas and North Texas Conservatory in the buildout and furnishing of the Conservatory, outreach and special needs programs, as well as the upcoming 2019-2020 season.

Avant Chamber Ballet Announces New Company Home

Avant Chamber Ballet Summer Intensive
Student summer intensive at ACB’s new studio space. Photo: Courtesy of ACB.

After years of borrowing space from other dance studios in the area Avant Chamber Ballet (ACB) has taken the leap and found itself a home base in the Dallas Design District where the company is currently holding its summer intensive series.

ACB is the second professional dance company to settle down in the Design District. The Bruce Wood Dance Gallery is just a couple miles south of ACB’s new home. Since opening its doors about five years ago, the Bruce Wood Dance has held many classes, fundraisers and choreographic sneak peeks at this location.

To celebrate this grand accomplishment, ACB will be hosting an open house and mini performance at the newly named Avant Chamber Ballet Center, 2408 Farrington St., on Aug. 25 at 3:30p.m.

The performance will include excerpts from the season opening mixed repertoire program Morphoses, which the company will present, Sept. 7-8, at Moody Performance Hall in the Dallas Arts District.

The full press release is included below:

 

AVANT CHAMBER BALLET ANNOUNCES NEW STUDIO HOME

DALLAS, TX (July 16, 2019)

Avant Chamber Ballet Artistic Director Katie Cooper announces the opening of the new Avant Chamber Ballet Center in the Dallas Design District. The studio space will be the rehearsal home for the professional company but will also house a new training program for young dancers this fall.

“This is an incredible step forward for the company. Having our own home studio means that we will be able to rehearse and train consistently for performances, but also have a pipeline for training young dancers who may eventually join the company,” says Katie Cooper.

To celebrate the new studio, the company will host an open house and mini performance at the Avant Chamber Ballet Center, 2408 Farrington Street, Dallas Design District, August 25th at 3:30pm. The performance will be excerpts from the season opening mixed repertoire program “Morphoses” which ACB will perform at Moody Performance Hall September 7-8th.

“I am so proud of where the company has gone in the last 7 seasons,” says Music Director David Cooper. “The new studio represents Avant Chamber Ballet establishing itself firmly in the future of arts in Dallas.”

Subscriptions for the full Avant Chamber Ballet season are now at TicketDFW.com. Single tickets go on sale August 1. Subscribers will receive a 40% discount on all four productions.

Avant Chamber Ballet Announces 2019-20 Season

Avant Chamber Ballet goes bigger and bolder for its 2019-20 season with an added mixed rep in the fall, its first full-length Nutcracker production and new works and company premieres by George Balanchine and Christopher Wheeldon.
Romeo & Juliet
Avant Chamber Ballet presents Romeo & Juliet. Photo: Dickie Hill.

ACB will open its season in Setpember with Morphoses, a mixed repertoire program featuring Wheeldon’s Morphoses, Katie Cooper’s Sisterhood and a world premiere by Cooper to the famous Brahms Horn Trio. David Cooper, ACB’s musical director and the newly appointed horn of the Chicago Symphony Orchestra, will be lending his talents to the Trio alongside musicals Anastasia Markina and Alexander Kerr.

I will miss Cooper’s clever take on a holiday classic like she had done previous years with A Ballet Christmas Carol and Little Match Girl Passion, but I am eager to see how she manages her first full-length Nutcracker. With choreography by local ballet legend Paul Mejia and a live orchestra, this Nut is already at the top of my list to see this year.

Mejia’s name appears again on ACB’s February program with his rendition of Romeo & Juliet. The company will also present Balanchine’s Raymonda Variations (a first for the company) in addition to a world premiere collaboration between Cooper and local Composer Quinn Mason. Mason also composed the music for Cooper’s Sisterhood.

The program I am most looking forward to is ACB’s Beauty and Beyond in April because of these three names: Cooper, Kimi Nikaidoh and Jennifer Mabus. Their voices and disciplines may be different, but I feel they share a common thread when it comes to storytelling and choreographic intent. Can’t wait to see what they do!

You can view the full press release below:

NEWS RELEASE
FOR IMMEDIATE RELEASE
Email: info@avantchamberballet.org

AVANT CHAMBER BALLET ANNOUNCES 2019-20 SEASON

DALLAS, TX (June 25, 2019)

Avant Chamber Ballet’s artistic director Katie Cooper and music director David Cooper announce the company’s 2019-20 season, featuring four subscription productions at Moody Performance Hall in the Dallas Arts District and the return of the Family Saturdays series. The season includes four world premieres by choreographers Katie Cooper, Kimi Nikaidoh, Jennifer Mabus, as well as five company premieres by Paul Mejia, Christopher Wheeldon, and George Balanchine. “This season is an incredible expansion for us in so many ways,” says Katie Cooper. “We are adding a fall mixed repertoire program and for the first time presenting a full-length Nutcracker with live music!”

The subscription season opens with Morphoses in September, a mixed repertoire program of three ballets: Christopher Wheeldon’s Morphoses, Katie Cooper’s Sisterhood and a world premiere by Katie Cooper to the famous Brahms Horn Trio. The Trio will be performed by internationally known musicians Anastasia Markina (piano), Alexander Kerr (concertmaster of the Dallas Symphony Orchestra) and David Cooper (principal horn of the Chicago Symphony Orchestra).

In December, Avant Chamber Ballet presents a full-length production of The  Nutcracker for the first time designed and choreographed by Paul Mejia with live orchestra accompaniment conducted by Brad Cawyer. This holiday classic is designed to take the whole family on a magical trip to the Land of Sweets through Clara’s eyes with Tchaikovsky’s rich score and ACB’s professional production.

Paul Mejia’s romantic and tragic Romeo & Juliet is the perfect way to celebrate Valentine’s Day. The performance features live music which brings the famous Tchaikovsky score and this timeless story to life. Opening the performance is George Balanchine’s beloved Raymonda Variations (company premiere) which celebrates the beauty of classical ballet and the sparkling score by Glazunov.  Next is a world premiere collaboration between ACB director Katie Cooper and local composer Quinn Mason. The ballet marks the 100th anniversary of women’s right to vote and is inspired by the women who made it happen. Also featured will be a guest company appearance by Ballet Frontier from Fort Worth.

Closing the season will be Beauty and Beyond featuring four ballets with live music: the company premiere of Christopher Wheeldon’s Five Movements, Three Repeats which includes the famous “This Bitter Earth” pas de deux, world premieres by Kimi Nikaidoh and Jennifer Mabus- commissions of the  2020 Women’s Choreography Project, and Katie Cooper’s staging of  Aurora’s Wedding: Sleeping Beauty Act III.

This season also marks the return of the Family Saturdays Series. This year all four performances are free. The shows are a family-friendly one hour designed to introduce the performing arts to kids of all ages.

Subscriptions go on sale now at TicketDFW.com. Single tickets will go on sale August 1. Subscribers will receive a 40% discount on all four productions.

THE 2019-2020 SEASON OVERVIEW

SUBSCRIPTION SERIES:

Moody Performance Hall, Dallas, TX

 

MORPHOSES

September 7th, 2019, 7:30pm

September 8th 2019, 2:30pm

Morphoses  – Christopher Wheeldon/Ligeti, Company Premiere

Brahms Horn Trio – Katie Cooper/Brahms, World Premiere

Sisterhood – Katie Cooper/Quinn Mason

 

THE NUTCRACKER

December 20th, 2019, 7:30pm

December 21st, 2019, 7:30pm

December 22nd, 2019, 2:30pm

Paul Mejia/Tchaikovsky, Company Premiere

 

ROMEO AND JULIET

February 14-15th, 2020, 7:30pm

Romeo and Juliet – Paul Mejia/Tchaikovsky, Company Premiere

Raymonda Variations – George Balanchine/Glazunov, Company Premiere

New Katie Cooper/Quinn Mason

Guest company Ballet Frontier

 

BEAUTY AND BEYOND

April 17-18th, 2020, 7:30pm

Five Movements, Three Repeats – Christopher Wheeldon/Richter, Company Premiere

Kimi Nikaidoh – Women’s Choreography Project Commission, World Premiere

Jennifer Mabus – Women’s Choreography Project Commission, World Premiere

Aurora’s Wedding: Act 3 Sleeping Beauty – Katie Cooper after Petipa

 

FREE FAMILY SATURDAYS SERIES:

Moody Performance Hall, Dallas, TX

 

Peter and the Wolf

September 7th, 2019, 2:30pm

 

The Nutcracker Suite

December 21st, 2019, 2:30pm

 

I Heart Ballet

February 15th, 2020, 2:30pm

 

Aurora’s Wedding: Sleeping Beauty Act III

April 18th, 2020, 2:30pm

 

Additional performances:

NUTCRACKER: SHORT AND SUITE

November 21, 2019, 7:30pm

White’s Chapel, Southlake, TX

Presented by Apex Arts League

Programming and casting for all productions are subject to change without notice.

Tickets on sale this fall through TICKETDFW.COM

About Avant Chamber Ballet:

Avant Chamber Ballet’s mission is to bring exceptional live dance and chamber music together for audiences in the Dallas/Fort Worth Metroplex. Our ensemble of classically trained dancers presents a diverse repertoire of classical and contemporary works from local choreographers, as well as internationally acclaimed artists. Since our inaugural season in 2012, ACB has presented over twenty world premiere ballets. The organization is in its eighth season, and is led by artistic director Katie Cooper and music director David Cooper.

Additional information is available on Avant Chamber Ballet’s website at www.avantchamberballet.org

Preview: Bruce Wood Dance’s Embrace Showcase

Forbidden Dance

Garrett Smith pays homage to those living in countries where dancing is banned in Forbidden Paths, part of Bruce Wood Dance’s Embrace concert.

Garrett Smith’s Forbidden Paths is part of Bruce Wood Dance’s Embrace Concert. Photo: Brian

Note: This preview was written in April after a private viewing of the work at the Bruce Wood Dance Gallery.

Dallas — Unmoving, the nine Bruce Wood Dance (BWD) company members sit on their haunches with their heads bowed and wrists locked behind their backs. The longer the dancers remain in this pose, which continues for about a full minute, the more overwhelming the moment becomes as my mind shuffles through similar images I have seen in the news recently. It brought up the images of people praying outside the burning Notre Dame Cathedral as well as images of those in mourning after the bombings in Sri Lanka on Easter Sunday.

This poignant section occurs in the middle of Garrett Smith’s new work, Forbidden Paths, which premieres at BWD’s Embrace showcase, June 14-15, at Moody Performance Hall in Dallas. The program also includes Joy Bollinger’s critically acclaimed Carved in Stone and the Dallas premiere of Bruce Wood’s Dark Matter, previously only seen when the company was in Fort Worth.

Smith’s powerful use of imagery is one of the many reasons that BWD’s Artistic Director Bollinger wanted him to come work with the company in Dallas. “The first time I saw his work I immediately fell in love with the musicality, powerful imagery and incredible partnering,” Bollinger says before the viewing.

Originally from Utah, Smith began his dance training with the Utah Regional Ballet and performed in the 2002 Salt Lake Winter Olympics Opening Ceremony. He later studied at the Houston Ballet Academy and created five works for Houston Ballet II’s repertoire. As a dancer with Houston Ballet, Smith got to perform works by Stanton Welch, Jorma Elo, Nicolo Fonte, Christopher Bruce, Ben Stevenson and Christopher Wheeldon.

It was only after seeing the piece that Smith told us about the concept, which started when he became aware that dance is prohibited in the country of Iran. “For me, this is the image of being detained,” Smith says about the section mentioned above. “There was a group of seven individuals in Iran that had danced to Pharrell Williams’ ‘Happy’ and they were detained for a month.”

He continues, “So I tried to imagine myself in that position and how extremely scary that would be for doing something that is not wrong. It is wrong according to their Islamic Constitution, but everyone should have that right to express themselves through dance and that is really the driving force for this piece.”

Whereas Wood’s gesturing is usually viewed as light-hearted and comical, the gesturing in Forbidden Paths comes across as more celestial. A prime example is when the dancers appear to be cupping a precious ball of energy between their hands, which they then manipulate aggressively and rhythmically around their bodies and outward.

Smith credits his use of gestural images to his time spent with the great Czech choreographer Jirí Kylián at the Norwegian National Ballet. Smith has also worked personally with Nacho Duato and Alexander Ekman and has also performed multiple pieces by William Forsythe.

Another striking moment in Forbidden Paths is Megan Storey’s opening solo. Her balletic lines melt into contorted shapes and weighted walking patterns, which she breaks up with flex-footed jumps and textured gesturing. Frustration is evident in her expression as her eyes follow an unknown source.

We found out later that the movement in Storey’s solo depict certain feelings and emotions that were stirred up by specific questions Smith had asked the group at the beginning of the process. “I asked the dancers’ questions such as what does dance mean to you? And how would you feel if you could not dance? The dancers then created solos based off their word choices, which I later sculpted into the piece,” Smith says.

At this point Smith asked Storey to step forward and show us some of the gestures she had crafted from these questions. She described an open-chested pose as her moment of discovery and expressed her anger through an unexpected jump with flexed-feet and fisted hands.

When talking with Storey about her solo later on she says, “I based the choreography off of the words I had chosen for my ‘paper phrase’ as Garrett called. He had given us several questions asking us various things about our relationship to dance, how we would feel if it was taken away from us, etc. From our answers, we chose words that stuck out to us and created gestures for each of them.”

She continues, “Some of the words represented in my solo are ‘music personified,’ ‘transcend,’ ‘conduit,’ ‘express,’ ‘angry’ and ‘can’t.’ From that starting point we, Garrett and I, adjusted certain transitions and gesture intentions to then reflect the objective of the piece and that worked with the musicality of the track.”

Reflecting on her time with Smith, Storey says, “It was truly a wonderful experience for me. Not only was his movement and musicality natural to me, but I also loved the purpose of the piece. It really opened my eyes to how other cultures view dance and performing arts, and how blessed I am to have the opportunity to pursue it as my career.”

She adds, “I try to channel all of those feelings when doing his piece and I’m honored to perform this work for those who aren’t able to.”

> This preview was originally posted on TheaterJones.com.

 

Q&A: Daniel Ezralow

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

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

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

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

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

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

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

 

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

Photo: MSA
Daniel Ezralow

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

 

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

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

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

 

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

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

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

 

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

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

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

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

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

 

What type of dancers do you like to work with?

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

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

 

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

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

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

This Q&A was posted on TheaterJones.com.

 

The Year in Dance

Here are my favorite new dance works of 2018!

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

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

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

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

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

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

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

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

 

The Little Match Girl Passion by Katie Cooper

Avant Chamber Ballet and Verdigris Ensemble

December

Moody Performance Hall, Dallas

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

 

Aladdin,حبيبي by Joshua L. Peugh

Dark Circles Contemporary Dance

October

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

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

 

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

 

And One More Thing… by Brandi Coleman

Meadows Dance Ensemble

October

Southern Methodist University, Bob Hope Theatre, Dallas

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

 

LUNA by Amanda Krische

Bombshell Dance Project

June

Moody Performance Hall, Dallas

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

 

Can’t Sleep But Lightly by Gabrielle Lamb

Dark Circles Contemporary Dance

March

WaterTower Theatre, Addison

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

 

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

 

The Face of Water by Kimi Nikaidoh

Avant Chamber Ballet

April

Moody Performance Hall, Dallas

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

 

Begin Again by Yin Yue

Bruce Wood Dance

June

Moody Performance Hall, Dallas

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

 

Face what’s facing you! by Claude Alexander III

Dallas Black Dance Theatre

May

AT&T Performing Arts Center, Wyly Theatre, Dallas

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

 

This list was originally posted on TheaterJones.com.

 

Preview: Avant Chamber Ballet’s The Little Match Girl Passion

Match Pointe

Emily Dixon Alba of Avant Chamber Ballet on dancing to live vocalists in The Little Match Girl Passion, featuring Verdigris Ensemble at Moody Performance Hall.

Emily Dixon Alba in The Little Match Girl Passion. Photo: Will Graham

Dallas — As one of the hardest working female choreographers in Dallas, Katie Cooper is always looking for new ways to elevate the local ballet bar and increase exposure of the 300-year-old art form. She did it when she started her company, Avant Chamber Ballet, with the goal of bringing ballet and live music back together; when she created the area’s first Women’s Choreography Project; and now she is doing it again with the addition of live vocals courtesy of Dallas-based Verdigris Ensemble at ACB’s showing of The Little Match Girl Passion Dec. 7-8 at Moody Performance Hall.

The dancers of ACB and the singers of Verdigris Ensemble will be bringing to life David Lang’s choral setting based on Hans Christian Anderson’s story, “The Little Match Girl.”

The collaboration marks a new challenge for Cooper who is known for breaking boundaries when it comes to classical ballet traditions. “Creating dance to almost acapella voice is a much different process than what I have done in the past,” Cooper says. “It has breath to it in a very literal way, plus David Lang’s score is quite modern and tells the story in a very different way than if I had picked more traditional dance music for the choreography.”

The task has also proved challenging for some of the dancers such as Emily Dixon Alba who told me during our phone conversation earlier this week that the Verdigris Ensemble recording they were using in rehearsals sounded a lot like Charlie Brown’s teacher at first. “But then the more I listened to the recording the more words I heard.” Alba notes that the lyrics will be printed in the program for the audience to follow along.

Alba also points out that the movement in The Little Match Girl Passion isn’t what you’d typically expect from ACB. “It’s abstract in terms of dancing, but it’s literal in terms of all of us dancers are flushing out the story around Julianne McAloon who is playing the main character. So, we’re all in black and we’re all becoming the words that are being said. For example, in one part we are walking across the stage really fast and we are supposed to resemble the street cars that she’s trying to dodge around.”

A native Texan, Alba trained at the Ballet Academy of Texas under the direction of Lisa Slagle before joining Tulsa Ballet II after graduating from high school. In 2009, Alba was accepted into the corps de ballet with The Sarasota Ballet. During her five seasons with the company Alba had the opportunity to perform a wide variety of repertoire, including works by Sir Frederick Ashton, George Balanchine, Matthew Bourne, Dominic Walsh, Peter Darrell, Agnes De Mille, Johan Kobborg, to name a few.

Alba was with Colorado Ballet while also guesting with ACB till her move to Dallas in 2017 to dance full time with ACB in addition to settling down with her husband and being closer to family and friends. Alba says making the decision was terrifying as she had spent the last 10 years with union companies where she had no fear about salary or health insurance. But Alba says Cooper wooed her with the repertoire she had planned, which included works by Balanchine and Christopher Wheeldon.

“I remember looking at ACB’s season and then looking at Colorado Ballet’s season coming up that year and it was a no brainer as to where I wanted to dance,” Alba says. “Looking at ACB’s season and what they were bringing in I wanted to see what my full potential was and be pushed to do that, and I knew this repertoire would do it.”

She adds, “Just in this one year I feel like I have grown and the company has grown. I feel like we have been pushed in ways you may not pushed in a company that has 30 or 40 people in it.”

One of Alba’s brightest moments with the company so far was when she was asked to perform one of the principal roles in Balanchine’s Who Cares? at ACB and Dark Circles Contemporary Dance’s joint performance in the spring of 2016. Alba says she still gets emotional every time she performs the role because there was a time in her career where she didn’t think she was capable of dancing a principal role. “I had reached a place where I thought I was a great demi soloist and soloist, but I cut myself from ever being able to do the bigger roles. So, when Katie asked me to come in and guest in Who Cares? I was half terrified because I had already told myself I was below that principal role, but then I was also excited to get a chance to tackle it.”

Alba continues, “And so that was such a victory for me not so much physically, but mentally and emotionally pulling through Who Cares? because it was one of those moments where you realize WOW there is more in me then I thought there was and that gave me a lot of confidence to come back the next year.”

Alba also links her increase of self-confidence to her time spent with local Balanchine Repetiteur Michele Gifford during rehearsals for Who Cares? “For the past two to three years Michele has been one of my dearest mentors on and off the stage. I can talk to her about anything. She helped me navigate my move back and just getting to work one on one with her through all of the Wheeldon and Balanchine works has been amazing.”

I couldn’t end the interview without asking Alba how she feels about portraying such a sad story right around the holidays. “Well, at first I was confused about why we were doing such a sad story, but I read a recent interview of Katie and it brought to light again that Katie is always reaching beyond what’s normal and I think there is an audience that actually connects to grief in the holidays.”

She adds, “The holidays can also evoke a different side of emotions. It is not wrong to feel grief or loss and that is not a bad thing. That is being human. And so I think Katie is going to connect with a side of the audience that is very real and very human through this experience.”

You can see Emily Dixon Alba in The Little Match Girl Passion at the Moody Performance Hall this weekend. The evening also includes The Nutcracker Suite choreographed by Katie Cooper and Paul Mejia with live music by Cezanne Quartet.

>This preview was originally posted on TheaterJones.com.