Tag Archives: Seth York

Preview: Bruce Wood Dance Harvest Performance

Loving Life

Bruce Wood Dance captures the lighter side of life in Bryan Arias’ new work Live, Love, Laugh, part of the company’s Harvest performance this weekend. 

Bryan Arias. Photo: Pablo Ramos Nieves

Dallas — “Palm, wrist, flip, wrist, palm change.” “Step back, front, down, up, step, arm, heel, heel.” Bruce Wood Dance (BWD) company members Olivia Rehrman and Seth York say this phrase under their breath as they review the corresponding movements while Choreographer Bryan Arias stands off to the side already figuring out where the movement will take the dancers next. Dubbed the hip-hop breakdown, this sequence of movement is the only time that the pair dances in unison. The rest of the time it’s almost like they’re playing an intricate game of tug of war.

“It’s really quirky and fun, and there’s a lot of partnering involved,” says Rehrman about the duet that I was able to see in its early stages at the Bruce Wood Dance Gallery back in September. “There are no counts so we are going off an internal rhythm that we both know really well. And knowing that the hip-hop part is kind of over the music instead of to the music. And because there are no exact counts we could then find where we want to spend more time or what felt good to hold onto longer.”

Photo: Brian Guilliaux
Bruce Wood dancer Jaime Borkan in Bryan Arias’ Live, Love, Laugh

As to the relationship the two are portraying in the duet Rehrman says Arias didn’t really give them any direction in that department. “It’s not like we are a couple or anything. And honestly I don’t feel like we are man and woman when we’re in it. We do a lot of back and forth weight sharing and so, for me, it’s more like two humans moving together as opposed to being in a relationship. But I also think it’s up to the interpretation of the viewer.”

This duet is one of three that lead up to the grand finale in Arias’s new work Live, Love, Laugh, which is part of BWD’s Harvest performance Nov. 15-16 at the AT&T Performing Arts Center’s Moody Performance Hall. The program also includes Bruce Wood’s nationally renowned Follow Me and the world premiere of Artistic Director Joy Bollinger’s In My Your Head.

This is Arias’s second time working with BWD. He created My Heart Remembers for the company’s 5 Years performance in 2015. When asked about the decision to bring Arias back, Bollinger says, “The first time Bryan Arias created on the company was our fall show in 2015. I was still dancing and I remember the growth I felt during the creative process. I wanted our dancers to have that experience and I wanted our audience to be reacquainted with his refreshingly authentic style. While creating incredibly intricate and detailed movement, Bryan’s work remains relatable, relevant and freeing.”

A native of Puerto Rico, Arias and his family moved to New York City at the age of 8. Growing up in NYC, Arias was exposed to many styles of dance, including ballet, modern, jazz and hip-hop. After graduating from La Guardia High school for the Arts, Arias went on to dance with Complexions Contemporary Ballet, Netherlands Dance Theatre (NDT) and Crystal Pite’s Kidd Pivot. He has also performed works by notable choreographers such as Jiří Kylián, Alexander Ekman, Lightfoot/Leon, Johan Inger and Ohad Naharin.

As a choreographer Arias has set work on the Juilliard School, Hubbard Street 2, NDT’s “Switch,” Ballet Vorpommern in Germany and most recently The Scottish Ballet. The Arias Company made its debut in 2013 and since then has performed internationally in festivals such as Siguientescena (Mexico), Pietrasanta Music Festival (Italy) and CICC Gala (Copenhagen). Arias is also a 2017 Princess Grace Choreography Awardee and a 2019 Jacobs Pillow Fellowship Honoree.

For many of the dancers, including Rehrman, this is their first experience working with the incredibly mindful and uplifting artist. When asked about Arias’s creative process, Rehrman says, “Instead of having us copy him exactly he’s more like let’s see if this works or is this isn’t working then let’s just scrap it because it’s your duet and it’s got to feel good of you. He’s more experimental in that way, which I like.”

Rehrman continues, “He’s also very kind and helpful when generating choreography. So if something’s not working then I felt comfortable going to him and saying this doesn’t feel good what can I do. He just has this way about him that even when it’s time to finish I feel like I want to keep going because I want to know what he’s going to do next.”

As far as what she has taken away from this experience Rehrman says it has helped her develop a deeper awareness for how her partner is feeling on any given day. “There’s a lot of weight sharing between Seth and I, and so you really have to be sensitive to where that person is at,” explains Rehrman. “Like today, for instance, there’s a part where I put my foot on Seth’s thigh and do like a deep lunge and my foot slipped off and he actually caught my foot in his hand. So he knew exactly where I was and was right there to catch me.”

She adds, “I think just being sensitive to the sensation of your partner is what I’ve taken away from this mostly. And because our group section doesn’t have counts either, it’s about sensing the group that you are dancing with even if you’re not touching them.”

>This preview was originally posted on TheaterJones.com.

 

Preview: Bruce Wood Dance’s All Bruce Performance

Shades of Bruce

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

>This preview was originally posted on TheaterJones.com.