Les Ballets Trokadero De Monte Carlo . . . OMG!!!!! THOSE DIVAS ARE FIERCE!!!

OMG!!!!! THOSE DIVAS ARE FIERCE!!!

OMG!!!! Ok so remember that 1 time I went and saw "The Trocks" and fell in love???? well that was what happened to me Friday night at the Joyce Theatre in Chelsea!!

The place was totally packed and you could tell most of the people there were not "Trock" virgins like me! The party started with an announcement with the heaviest and funniest Russian accent warning us that dancers like Marina Plezegetovstageskaya... wait for it wait for it . . . . .now laugh and Minnie Van Driver will be appearing in various roles and informing us that the reason flash photography is forbidden is because it reminds the dancers of gunfire (since all of them have defected from communist regimes!) . . . well that had audience peeing themselves before the dancing even begun!

Then the house went dark, the music began, the curtain went up and suddenly I was a 7 year old girl seeing the ballet for the 1st time, and, since I am a professional male dancer in my 30's that was quite a leap! 2 1/2 hours of giddy, antsy, couldn't tear my eyes away, inappropriate clapping and hollering and joy was all I knew . . . I was a little embarrassed for myself uh oh!

The first of three acts was Act 2 of Giselle, and when Myrtha, Queen of the Wilis hilariously performed by Minne Van Driver, hit center stage and nailed that first ponche, I knew i was in for a fabulous night of dancing! Then Giselle, the beautiful Lariska Dumbchencko, appeared from her tomb, and she creeped out so perfectly turned out I thought for sure I was watching Julie Kent, well except for the mass of dark curly hair emerging from her corset. Anyway, the dancing and the storytelling was fluid and fun and a perfect way to be introduced to the magnificent all male Trockadero!

Act 2, of the night, was filled with a gorgeous duet from La Bayadere, (I think, the Russian accent that announced it in the beginning was a little too thick for this jersey boy, but stylistically it seemed so), then the swan solo with shedding feathers and all . . . I was cracking up . . . , and then Go for Barocco, a Balanchine inspired number. I can tell you those NYC Ballet girls better watch out, because those trinas ain't got nothing on these fierce fierce divas of the Trock! I am talking about, they gave me popped hips, over extended lines, crazy traveling patterns. They were just flawless with the play acting of the subtle competitiveness, that all you Balanchine girls know what I'm talking about, with the wacked out porte de bras and who's "2nd-besque" is higher . . . . incredible. Those dancers danced at each other and at us and all in perfect harmony. It really was so cool to watch dance, get lost, and forget to watch those divas for technical imperfections like I usually do, because I was just in awe of them!

And not to bore you with my zeal but the Third Act brought it home with a French styled Spanish themed Paquita which is an exploration of "the various possibilities of academic classical dance" and OMG I was LMAO, when I wasn't staring with my jaw on the floor. I mean feat after feat that any ballerina would kill to be able to do, not only did they show off all of the usual trina fiotes and en pointe balances (which were all accomplished with ease, coolness, and absolute perfection) but those girls also started jumping like the men they really are, just soaring on to the stage; they were giving me Baryshnikov and Gelsey Kirkland all in one! And, again the acting, playing just as big a role as the technical brilliance. The cavalier flirting with a chorus girl while trying to partner the incomparable Olga Supphozova..... yep Supphozova... gotta love them! Following a series of masterful solos that were fun, flirty, and totally totally perfect, AAH! I could have died!

And, my last note i swear!!! . . . Just hold on . . . , the final curtain call of New York New York had me and the rest of the audience shouting and giving them the standing "O" they deserved. I have to say after seeing and doing the Nutcracker (UGH!!) (sorry Nutcracker fans but i mean come on...) every year since... well forever, it was refreshing to be inspired by something entirely new and fun!! I know in class on Monday I will be giving a little bit more after seeing those guys up there giving it there all!!!

Anyway so where ever you are, when the infamous "Trocks" hit your town GO SEE THEM!! And, until then please catch them at the Joyce Theatre in New York City in Chelsea until Jan 4th, 2009. Four stars to each of those amazing and unforgettable dancers!!!

Thanks for reading!

Dtrain76

iDANZ Critix Corner
Dance Review by Dante Pulieo
Performance: Les Ballet Trokadero De Monte Carlo
Venue: Joyce Theatre, NYC
Date: Friday, December 26, 2008
www.iDANZOnline.com

Juilliard Impresses

Hey DANZ Nation,

Yesterday I had the awesome chance to see the Juilliard Student Showcase at Lincoln Center... and let me tell you, it was A-MAAAZZ-ING!!!!!! First of all, the greatest thing about bein' a dancer in NYC is how spontaneous your days turn out to be! I had no plans of going to the show until a friend of mine called me up w/two free tix an hour beforehand! I was pumped!

On the way to the theatre, I was thinking, "Yeah, I know it's Juilliard, but how good could these dancers be? They can't be much different than the throngs of dancers I see every day at Steps and Broadway Dance Center." But I'm telling you, Julliard is the number one dance college in the nation for a REASON. It was truly the best display of dancers/choreography I've seen in a LONG time. We saw four pieces, showcasing each class from freshmen to seniors.

The first piece had my brain on overload, about 25 people on stage, every single one fiercer than the next! Honestly, I didn't know where to look, it was an explosion of FIERCENESS! Extensions, style, technique, lines, quirky choreography, partnering... sensory overload!!!! Not to mention, there was a live jazz band on stage! The piece finished and I literally said "That was the sickest thing I have ever seen." Someone turned around and quipped, "Just wait, that was only the FRESHMAN class." I was stunned, and I don't get stunned easily!

The three following pieces were equally breathtaking, all being completely unique from each other in concept/costuming. However they all had one common thread - insane ballet and contemporary technique. My advice to anyone dreaming of attending Juilliard: Get your butt in ballet, modern, and contemporary classes until you can't take it anymore!!!!! The technique was just insane. You can't dance like these people on talent alone- even if you have the "it" factor. Your body needs to be trained, trained, trained, and MORE trained.

To get specific, the sophomores did a piece to Latin guitar music using tons of floorwork and moving mirrors. The juniors danced the entire thing to the music of two live accordionists! (I hope accordionists is a word....) So COOL. What was even cooler, the juniors got to speak into a microphone throughout the piece which really pulled the story together... and showed off their acting chops! The partnering in that piece was off the chain. I've never even seen partnering so beautiful ANYWHERE - it seemed to defy the laws of physics! Finally, the seniors came out lookin' snazzy in huge go-go inspired long wigs for the girls, and tuxes for the guys. Throughout the very wild piece propelled by a steady drum beat, dancers were shedding clothes down to their scivvies onstage in what looked like an onstage dressing room! Eye candy is an understatement for some of those hot bods!

At curtain call, all the dancers came out for a bow and I had to hand it to them, they were no joke. They are here to conquer the world of dance and I'm excited about where dance is going! After talking to a few students, I learned that many came from small studios or arts high schools. If this is you, you have a shot at dancing here. TRAIN those bodies, learn all you can, and audition. Good things come to those who show up to get them!!


iDANZ Critix Corner
Author: Sheena DiMateo
Dance Review: Juilliard Dance Department
Venue: Peter Jay Sharp Theater, Lincoln Center
Performance: Sunday, December, 14, 2008
www.iDANZOnline.com

Rhapsody's Showcase @ BLVD 12/12/08

Rhapsody's Siren Assassins
After Dark Choreographer's Showcase

After the long extensive checking and shuffling of personal belongings and the long wait outside in the freezing cold outside of Boulevards somewhat unorganized and confusing door situation, Rhapsody’s choreography showcase took on a surprising turn. It was definitely not expected as most dancers are familiar with how choreography showcases can go. Particularly in the world of street jazz where hair swings and hoodies can get redundant and in an industry where dancers and choreographers can find it hard to stay true to themselves as they battle the “commercial” monster that is only in search of his money. The Siren Assassins opened up dancing rhapsody’s sexy choreography in trench coats. Kelly

Peters delivered a choreographic explosion serving as a good opening infusing ribbon twirlers and breakers and using a blend of familiar old -school music. Highlights of the evening was performed by DS as they interpreted the selections spun by DJ’s, who were choreographers that inspired them. Precision and performance make this duo fiyah! It was a nice change to see a contemporary piece, performed by Josh and Mishay, interpreting the complexities of a love relationship and displaying a different type of movement quality that allowed the eye to rest from all the sharpness and “boom- cats”. Luther Brown stood out by being one of the only choreographers to choreograph to one song. Can you believe it!. I definitely applaud this as it is part of the challenge that we call choreography. We have to recognize an artist who can captivate and tell a story through movement without necessarily using the sound of excessive sirens, bombs, and beat changes. However, we do recognize the time and place for these elements. Hollywood presenting a piece with a nice theme and it was definitely Hollywood! There was a nice utilization of formation changes and staging.. Nu Stylz represented their years of being in the business by choreographing to all the songs that they choreographed professionally for. Jamie J had a nice piece that used nice formations and patterns on stage as well and Christian Owens displayed a unique movement style that is definitely hard to copy. Bam brought it big in more ways than one by also representing various hip hop dance styles from locking, street jazz, and what I call “sexy girl” hip hop in addition to having a crazy number of dancers on stage at once.

It was a surprising evening filled with some of the known choreographers bringing it hard with their best artistic interpretations. There was the usage of the typical leg lift and drop to the floor that always seems to wow an audience of dancers even though they know that it is not rare and see it every day. Rhapsody announced during the show that her goal of the showcase was to inspire and this was definitely accomplished. These choreographers must of did it up just for her or maybe it was just that time of the year or a good selection process…who knows why or cares why, but, in an industry that is often ruled by CEOs making artistic decisions about things they know nothing about, I was glad to see the artists being able to do what it is that they do best…oh and not an overdose of Timbaland beats…hot.…..

JoiLynn

iDANZ Critix Corner
Dance Review by JoiLynn
Performance: Siren Assassins After Dark
Venue: BLVD, NYC
Date: Friday, December 12, 2008
www.iDANZOnline.com

Juilliard New Dances/Edition 2008

New Dances/Edition 2008

Peter Jay Sharp Theater

Juilliard

Review by Adrienne Jean Fisher

December 12th, 2008

Refrain for a Broken Chorus

Class of 2012

Choreographer Sidra Bell, her father, composer Dennis Bell, the live music by the Juilliard Jazz Ensemble and the first year students combine forces to create ripples that turn into tidal waves of androgynous red and black satin and smooth as silk movement. This piece takes an intense look at refrains, deep breaths and "time-outs" from the repeating or broken chorus that is life and its rituals. The movement is smooth as water as a blond male begins to send ripples of energy from one end of his body to the other sometimes pausing on one leg in an unfaltering balance before making another splash.

It is as if every time one of the dancers holds up a finger to say "hold on", they are simultaneously throwing a rock into a pool of water that sends ripples throughout. These "time-out ripples" quickly turn into tidal waves as the movement escalates to a climax in a solo dance. Then, the movement gradually decrescendos back to a ripple and finally to a singular breath. The piece begins with a phrase that ends in the soloist holding up his ribcage with his hands in a moment of deep inhale. The piece comes to a close when the same soloist is at his deepest inhale with his hands on his ribcage as the other dancers gradually walk away facing him with their "wait a minute" index fingers held high in the air.

All of the dancers wear beige socks that inhibit any friction that bare feet on marly would cause bringing us deeper into the world of life's unrestrained rituals.The shallow breath that accompanies life's daily patterns that are only brought to a halt when a person says "Wait a minute, take a deep breath." The dancers rush on and off stage holding up their index finger now and again in order to convey a forced pause in the regiment. By doing this, they throw a pebble of breath into the pool of customs causing yet another ripple that turns into a tidal wave, and once again back down to a breath.

This piece starts with breath and ends with a breath. The dancers brilliantly execute their technique as they send ripples throughout their bodies. When these ripples turn into tidal waves, one is awestruck at the display of strength, balance and focus. When they peter out back to a ripple and then again to a singular held breath, one can't help but want to take a deep breath after holding as together we skid off the path of conventionality.

Exposed Sights

Class of 2011

Exposed Sights begins with a quartet including three mirrors and a girl in hot pink. On vehement display throughout are the different perspectives that one gains from not only the "mirror mirror on the wall", but also the other several pieces of looking glass in our lives that are very effective and resonant on a daily basis. In this piece, observed is the looking glass created by all of the people who surround us, who each reflect back different images, and the looking glass created by one's own perception of the surrounding world.

The music by Rodrigo y Gabriella sets the stage for this piece on questioning ones own self-perception, the perception of the world and the world's perception of oneself with a latin fusion of beats and guitar that include covers of Zeppelin's Stairway to Heaven and Metallica's Orion. As the soloist in hot pink dances with the trio of mirrors onstage, she publicizes her inner angst. This inner turmoil is rooted in receiving contrasting notions of herself from different angles. She runs from upstage to downstage, sometimes not able to look in the mirror as she flawlessly dances through her self-perception queries in this opening soliloquy.

Darrel Grand Moultrie, choreographer and Broadway performer, shows us a grand display of fireworks amidst these reflections of humanity. While facing upstage, the dancers support themselves with their elbows while sparks seem to ignite in each of their fingers as they open and close. The costuming is incendiary creating a hot pink and orange parade of fireworks. The fireworks climax on stage when the dancers partner, the choreography of which is stunning and unique. The beginning soloist, shoots fireworks from her head, feet, hands and core as she dances with her mirrors. The display of fireworks on stage at all times while the soloist intermingles with the different sights that she sees in the mirrors of her mind is astonishing.

Upon completion of the introductory dance soliloquy, people soon appear in the shadows behind the mirror, as they roll and writhe on the ground. These are her inner demons as she looks in the mirror. At the close of the piece everyone has hit the deck on stage except the hot pink soloist. As she searches for an answer, she pleas, contracts and soars over all of these people that make up her foundation, each of whom is as much of a looking glass as the mirror that hangs on the wall.

"because there isn't any"

class of 2010

"Hate to break it to you, but you can't ever find a place that is nice and peaceful," says a man as he lays comfortably on the ground or, rather, in the ground, six feet under because maybe that is the only place that is "nice and peaceful".

Johannes Weiland takes a close look at life and its extremes in her choreography and conception of this piece. It isn't ever "nice and peaceful" because there is always the give and take that is going to keep life either buoyant or depressed, and everything in between lives in the gray that some people pre-conceptualize as "nice and peaceful", but once one arrives there, one desires the excitement of the polar extremes once again. When living in the "danger zones", all that's wanted is a quiet life so that one can be at peace. Endless searching, endless circles, running, looking.

The piece starts with a man running in huge circles covering the maximum diameter that the stage will allow. There is a microphone center stage, down stage that he speaks into whenever he run past it. "I don't even know why I am running...there isn't any." This vehicle of expression is used by quite a few of the dancers dressed in the rags of the Great Depression. One female dancer gets the mic pulled away from her, but she glues her lips to it and runs to keep up with the mic in order to finish her sentence because she wants nothing more than to be heard. That being said, there are only so many ways that one can express oneself, especially with a poor education. This is expressed by the useof the same phrases over and over again.

Their constant "search" for something new is expressed in the way that they change partners and the females drag their male partners to them trying to beat them into submission to stay home and prioritize, but the males are constantly wandering, searching for "that place" even if that means finding love outside the home. The partnering in this piece is very indicative of the feeling of deficiency. When the girls are thrust into the air in a lift, their moves are not quite complete in that the legs aren't fully extended or they fall limp too soon.

The text spoken by the dancers in this piece is taken from the Catcher in the Rye. In this novel, Holden Caulfied wanders searching for "that place" as he experiences teenage angst. He comes to realize that once innocence is gone, there is an endless wandering in which we search for something, anything that is either more peaceful or more exciting than "the now". He learns that one can't "catch" innocence in order to hold onto it forever. Innocence must go as must a nice and peaceful place, not to be returned to until death.

Once again, kudos to the lighting and the costume design that made all of the dancers look as though in an yellowing antique photograph.

Runaway

Class of 2009

Larry Keigwin's work on Juilliard's graduating class is brilliant. Runaway is set to a pulsing original electronic score by Jonathan Melville Pratt that creates a digital heartbeat for this retro catwalk to play and prey on. The dancers are expressionless high fashion models. Keigwin clearly paints a picture of self-loving models that rarely make eye contact with anyone else, as if no one else exists, even if they are strutting side by side with another dancer down the catwalk.

The women wear Jackie O bouffant wigs, high fashion makeup and high-waisted florescent mini dresses. Many of the womens' jumpsuits are discarded to reveal 50's style bikinis of the same florescent color, while never halting the urgent catwalk from upstage to downstage and then off stage right. The men are in black suits, many of which are discarded to reveal a Calvin-Klein model myriad of men in just tux shirts and BVDs...or just BVDs.

A model's stereotypical self-involvement, narcissism and winner takes it all traits are physically expressed to a t by the dancers. At one point, two men walk the catwalk downstage as a women flies on them. They brush her off as if she were an unexpected horsefly biting them and don't give her a second thought as they complete the exit of their runway walk.

There is also an animalistic, primal instinct that un-coyly permeates the stage at all times. Girls run from stage left, soar, and piggy-back the male model dancers men as they exit stage right after completing their catwalk. The males don't as much as flinch, but allow the female models to stay latched on as they take them offstage. They never make eye contact, living in the universe where one takes care of one's own needs and acts only based on personal gain.

The female dancers become petrified into live mannequins as they are abruptly picked up mid-catwalk by the male models. The image of mannequins in store window comes to mind. These fashion statues are whatever the designer needs them to be in order to benefit his image. Personal gain comes full circle. The shallowness that exists in the fashion industry is enormous, but with the shallowness, there are infinite heaps of passion and urgency alive and breathing in everyone's self-importance and image. The fashion world is turned inside out with the recipe that Keigwin, Pratt, and the lighting and costume designers invent for in Runaway.

Scenic and lighting design by Clifton Taylor

Costume design by Fritz Masten

iDANZ Critix Corner
Dance Review by Adrienne Jean Fisher
Performance: Juilliard New Dances/Edition 2008
Venue: Peter Jay Sharp Theater, Lincoln Center, New York City
Date: Thursday, December 11, 2008
www.iDANZOnline.com

THERE IS PASSION IN PLAYGROUND

THERE IS PASSION IN PLAYGROUND

There once was a man who viewed the world and the people in it as dark, closed off and unforgiving. This man could see no reason to live based on his own loneliness and inner demons. He sees his own demons projected on the people that populate his cold, dark world. Inner-angst, depression and self-doubt revolve around and around in a maddening circle in this man's brain. A man with a gun. A gun that is very close to his body at all times. A gun that is very close to ending this cold, dark life. But, is there a light? Can an angel aka another good person open up his eyes to the precious value of life by showing him the magic and beauty of human relationships? Can this angelic person show him that the people that he has been viewing as closed-off and evil are really playful, loving creatures whose most sought after thing is companionship?

A baby's cry-the most resonant symbol of life and life's ability to create and coexist. With every transition in the music, there is a wailing infant's cry. Kudos to the composer of this original composition, Brent Lord. This cry pierces through the suicidal man's mind as he is visibly tormented by this calling. This cry makes him question his decision to kill himself. He was a baby once and had a mother who brought him into this world. Once, he thought that life was good when he was innocent, untainted. Now, all that he sees are people who wear dark black hoods around their heads so that a face can't even be seen. These black hooded sweatshirts make the people look as though they are grim-reapers, taunting him by the way that they wave their arms into the death chamber.

Jeff Shade as choreographer and creator of Playground is brilliant. From the moments of intense, painful writhing to the wide spectrum of play and companionship, Jeff clearly tells us a beautiful story of a suicidal man who, though dance, is shown the lighter and sweeter sides of humanity.

Jason Dougherty brilliantly depicts the suicidal man. Jason's every inch is wrought with intensity and angst. Every movement from his tiny head twitches inside his black hood to his spectacular, joyous dancing (especially his side jete!) is passionately acted as well as danced. Ryan Kasprzak, is charismatic as the angelic figure. He gives Jason a crystal ball near the beginning of the piece that he forces him to look into. Through this ball, the suicidal man is able to see the human condition in a new light. As sMan (suicidal man) sits in the corner mesmerized by this ball, the people who once writhed and flailed in black hoodies, luring the suicidal man into their darkness are now in bright, colorful clothing as they play and dance with each other to joyous, playful music. The angel is showing sMan a new perspective on life through this crystal ball. At one point, the angel grabs the sphere from sMan's hands and throws it into the playful crowd. Much to the audience's surprise, it bounces, and a dance ensues utilizing the bouncing ball otherwise known as the light that helps sMan see that humans are loving, playful creatures who just need others to get through life.

Mr. Shade brings us many playful surprises such as the bouncing ball number throughout this piece. In another instance, colorful tubes appear from a long black bag. This black bag once laid at sMan's feet, symbolizing a life obstacle that one just can't get past. He forlornly stared down at it and stood motionless behind it. The obstacle quickly turns into a bag of colored tubes that make all of the notes of a major scale as the dancers hit them on the ground...and each other. A comedic and light-hearted dance blossoms. Once again, something that sMan once viewed as hopeless turns into something communal and fun. Later in the piece, tap shoes are found in a bag, the same bag that the gun was in. The angel turns imminent death into life as Man puts the tap shoes on, following the angel's lead. The other dancers emerge from underneath a sheet equipped with tap shoes and black hoodies. At first, everyone is on the defense. The angel demonstrates a step to the hooded creatures. They start to answer his call by repeating the tap step that he has done. After observing the angel do this for a while, sMan decides to join in. He immediately is immersed in a beautiful conversation of rhythms as each and everyone of the dancers takes their hoods off and reciprocates his tap steps. sMan needs to be shown that all it takes is a little effort to confront his fears (inter-personalization).

Jeff Shade creates a dynamic picture of what it is to be a man on the brink of suicide. At sMan's worst moments, he is writhing with internal pain and staring death in the face, and at his best, he is rejoicing in life and doing high-arced "x jumps" with his friends. In the end, all of the dancers walk to the foot of the stage in a straight line and stare indifferently at the audience. Maybe they have all had thoughts of suicide at one time or another, but they have all found the lightness and love of life-something that sMan now possesses thanks to his angel friend. On the last beat of the music, they all reach frantically up, facing away from the audience, and then blackout. Just because these colorful, playful friends helped sMan see the light of life, doesn't mean that none of them have seen the darkness of suicidal thoughts. They also must boldly extend their hand for help. A helping hand from another loving person.

All of the proceeds of this show go toThe Trevor Helplineand Covenant House, The Nine Line. To make a donation to either of these two suicide prevention organizations, click on the above mentioned titles, and you will be directed to the donation page.

Jeff Shade's dance company is calledJeff Shade Dance Project. Click on the name of his dance company, and you will be directed to his page. Here, you can find out more about the company and also make a donation.

The stellar cast includes Al Blackstone, Zachary L. Denison, Jason Dougherty, Rashaan James II, Donielle Ej Janora, Ryan Kasprzak, Tiffany Powell, Chad Ritter and Mark RolandMark Roland

Choreography and conceived by Jeff Shade
Music by Brent Lord
Production Stage Manager: Janine L. Pangburn
Lights: Philippe Bachy
Sound: Brent Lord
Casting: Paul Davis/Calleri Casting
Photography: Ben Strothman
Postcard Design: Kirk McGee
House Management: William Michael
Production Assistance Provided by Paul Davis/Bixby Elliot/Adam Fitzgerald/Nikole Vallins/Joey Oliva

iDANZ Critix Corner
Dance Review by Adrienne Jean Fisher
Performance: Playground, Jeff Shade Dance Project
Venue: Manhattan Movement & Arts Center, New York City
Date: Thursday, December 4, 2008

www.iDANZOnline.com