Dance Review: Ease on Down that Bumpy Road, The WIZ at City Center

Ease on down that bumpy road . . .

You don’t have to be a child of the 70’s to understand the subversive magic of taking a tale of a lily white Kansan and transposing it into our own script of Black allusions and urban metaphors. Even after winning seven Tony Awards and best musical in 1975, those early critics were lukewarm at best.

The original coming of age tale by L. Frank Baum published in 1900 and the subsequent Broadway play of 1902 is full of mixed imagery and sociopolitical double entendre. This makes for very interesting retelling in the hands of Geoffrey Holder (directed 1975 Broadway musical) who is like a mad scientist turning regular-sized humans into colorful little munchkins and creating the Tornado ballet.  Casting the big ol’ queen Andre DeShields as the Wiz even is an improvement.  Like the popular Blaxsploitation movies of that era, they do not have to be that great, they just are our stories told our way.  Sydney Lumet’s 1978 movie version staring the late, great Michael Jackson and Diana Ross is equally panned by critics yet summarily beloved in black pop-culture.      

So, after going out on a limb, towing the color line and throwing a big black power fist up in the air let me tell you what's going down at the City Center Encores! Summer Stars performance of The Wiz.  On Monday, I run to City Center to see the wizard having only the fondest memories from childhood of a cracked LP that no longer plays the 1^st track of the Tornado ballet. (This is a good thing because, as a child, those howling wind sounds had scared the crap out of me.)

Kudos to set designer David Korins who strips the house bare of planks so that only the door and window frames remain suspended in air as if the tornado to come is already a part of our present. Ashanti enters with Toto in tow and is wearing the worst ensemble ever (and this includes grade school shows) of a busy blue bedazzled dress, jeans and sneakers.  Fortunately, LaChanze sets the tone of the night effortlessly flowing through “The Feeling We Once Had.”

The Tornado Ballet, choreographed by Andy Blankenbuehler and Associate Choreographer, Joey Dowling, is excellent as the ensemble dancers do not disappoint, especially, Ryan Rankin, Herman Payne, Lauren Lim Jackson, and Jennifer Locke.  The WIZ proves to be an excellent show for concert dancers to perform.  Watching young dancers like Ryan Rankin (SYTYCD) move through the ography so radiantly is breathtaking while seeing veteran dancer,  Herman Payne flow from scene to scene is just textbook brilliance.  It makes you want to take notes!  Not only does Payne dance flawlessly in a show in nearly every scene that runs for over two-and-a-half hours, but he definitely appears to be the seasoned "go-to" guy to lift cast members, carry props, change sets, secure lights, strap down hanging fly ropes, and still have the strength to balance effortlessly on one leg . . . Whew . . . probably the hardest working dancer on that stage.  As for the ladies mentioned, Lauren Lim Jackson has great lines in addition to sassy "emerald city" attitude along with her fellow poppy, Jennifer Locke who seductively shows off her strong long legs with endless command.  Other dancers among the ensemble with stand-out performances include Daniel J. Watts who shows excellent energy as both dancer and Field Mouse as well as William B. Wingfield who gives a strong performance as the leading hip hop, Funky Monkey.  There is so much talent in New York and fun shows like The WIZ give diverse concert dancers opportunity to do what they do best.  Bravo dancers!

As the Tornado Ballet ends, Korin’s minimalistic house is disassembled and Dorothy is lifted into the air on the storm shelter door.  It closes as the curtain is falling to reveal a 22-piece orchestra (with the young, hot musical director, Alex Lacamoire, at the helm), which receives one of the loudest applause moments of the entire evening.  They are suspended up into the space via the missing planks from the house.  These long wooden beams haphazardly form a tornado funnel with which the orchestra is showcased simultaneously serving as a scaffold structure for the performers to climb to different levels.

The productions is not lacking in star power as Dawnn Lewis' comic timing as Addapelre is impeccable.  Cleverly, the munchkins appear as flouncy-skirted actors on rolling chairs that remain seated the entire time adding a whimsical air to this production. 

So we are just about ready to ease on down that bumpy road.  So far so good…

“Soon as I Get Home” OK…

Let’s get this out of the way, Ashanti is no triple-threat.  I am not sure that she understands that this is The Wiz and not a Disney musical as her sweet lyrics are beautiful but lack the fear, confusion and longing of the Dorothy character.  That being said, the girl can sing; she's a true solid singer and without the help of autotune!  Although I really enjoy her vocal skills, like the rest of the audience, I generally tune her out in all other sections.

Of Dorothy’s three companions down that yellow brick road, it is Joshua Henry as the Tinman that blows me away.  He is able to create an air of an old man that is so effective that you feel his every step is rusted and stiff.  An amazing dancer with an unique sound, the jokes just keep hitting even with the dated material.  The Lion, played by James Monroe Iglehart, gives his character a contemporary-urban comic feel, but nicely retains the magic of the original songs with his big, big voice similar to his predecessor, the late great, Ted Ross.  A full-sized guy, Iglehart shows worthy skillz on his dancing ability, especially when he cops a move a few times from Michael Jackson's signature freestyle.  The scarecrow, played by Christian Dante White, exudes a youthful innocence with nice licks and good comic timing as well.

Orlando Jones is another casualty of the production and makes for an uninspired Wiz.  By contrast, Tichina Arnold is the best Evilene ever!  There is nothing like being the baddy that brings out the diva in a performance.  Her costume is an architecturally designed stiff ruby encrusted cape that adjusted and changed with her movement.  Let’s just call her scene ugly chic!  She is evil, mean, and ugly, and she made it all look so good.

Unfortunately, it is from this point where Encores budget and timeline really take its toll on the overall production giving the musical a feeling that it is heavily edited and that the LP is slightly speeding up in some numbers.  However, if there is something drastically wrong with this production, clearly the audience doesn’t seem to mind and claps, sings, laughs and gives a rousing applause after each and every musical number.  Let just say there is something to this Wiz thing that goes beyond perfect script or elaborate execution.

And, then a slice of heaven… “Rested Body Is a Rested Mind”

LaChanze enters and a fresh breeze blows through City Center. She has such an amazing voice and stage presence that her background dancers wear perm-a-grin faces and tears in their eyes.  Her voice is strong and nuanced and the scene rolls into “Believe in Yourself” for a back-to-back slice of that real Broadway sound.  Ashanti finishes the night with a strong, well-pitched “Home.”

Even though, the second act needs work as it did in the 70’s and Ashanti is not the triple threat the rest of the cast is, or the production looks cheap when compared to Lion King or Little Mermaid, or the entire production is chopped like a plate of short ribs and whizzes by at breakneck pace, who cares?  . . .Give me my “Ease on down the road”, “No Bad News” and “So you wanted to meet the Wizard.”   From an audience perspective, we came, we saw, we got The Wiz at City Center in 2009.   It is a good night to be had.

Still, if there is any doubt on the effect this musical has had on black culture or why it needs revival by City Center, please check out little Nia age 5 on the embedded player from 2007.  This little girl looks a lot like I did back in the day singing this song, only fortunately for her, she has more hair, teeth and talent.  Enjoy . . .

Cast of characters include:
Ashanti as Dorothy
Orlando Jones as The Wiz
LaChanze as Aunt Em, Glinda
Joshua Henry as Tinman
James Monroe Iglehart as Lion
Christian Dante White as Scarecrow
Tichina Arnold as Evilene
Dawnn Lewis as Addaperle

iDANZ Critix Corner 
Official Dance Review by Sasha Deveaux
Contributing Editor:  Candice Rox
Performance:  The Wiz
Director: Thomas Kail
Choreographer: Andy Blankenbuehler, Joey Dowling (Associate Choreographer)
Musical Director: Alex Lacamoire
Venue: City Center, New York
Date: Monday, June 22, 2008 @ 7:00pm
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Dance Review: Past and Future Clash or Contrast?

What choreographer has the balls to bring all ‘his dancers’ to The Joyce Theater after working in NYC for 17 years? Nicholas Leichter! He presents company members, old and new, in a rare tribute to his own evolving artist legacy. After seeing his genius on the bodies of students at DTW’s Barnard Project, I was anxious to see his run here. It is clear that he has the unique ability to make dancers, seasoned or green, look amazing in his movement.

Leichter displays a rare blend of talents including an exceptional artistic rhythm that complements his strong sense of thematic timing. Additionally, his musical choices thrill me by flipping it and bringing House, R&B, disco-drag and Hip Hop to The Joyce.

His early movement vocabulary is a fusion of contemporary dance, contact improvisation, African, jazz and the more free loft styles of house dance. The premiere of Killa shows off Leichter's later dance style, a style that intersects retro and new. Throwing it back to a time in the 90's when costume changes and keeping up with generation next of the current 'Hip Hop potpourri' were the norm, he keeps the children working, sweating and absolutely killing it in scene after scene.

The night opens with Free The Angels (2001) featuring a more mature cast of dancers who know how to perform his signature style with truth and vitality. Strangely, his signature piece, billed as a reworking of the original, is presented with half the cast that's listed in the program. This last minute switch up coupled with no announcement leaves the audience confused. Perhaps Leichter believes the best fit is not to force some reunion routine carbon copy on seasoned dancers and students from his workshops. Instead, he frees this cast to do their thing first.

Free The Angels, is set to Stevie Wonder’s album, “Songs in the Key of Life”, which boasts repetitious and driving rhythms on top of heart wrenching lyrics. Leichter opens with a duet that is ‘housey’ and dripping with a soulful club quality. The dancers begin by reaching up into a down stage pool of light before partnering as they lift each other. It's hard to tell where the partnering stops and the contact improv begins.

What’s extraordinary about this work is the non-stop partnering, which becomes a constant layering over the work itself. Not only do the six dancers constantly run in and out of the work as they join in endless numbers of duets, trios, quartets and ensembles, but they also jump completely released into each others arms. Leichter’s style is so effortlessly smooth. Not for nothing, this piece could be likened to a Black Esplanade. The dancers execute this jazzy work with a soft and subtle confidence that only builds with time. Check it out: http://www.youtube.com/watch?v=8vgIFi9hV2c

Killa opens with Monstah Black tied into a spider web and singing a housed up version of Michael Jackson’s “You Can’t Win” (The Wiz). (Michael’s pervasive influence is eternally with us.) The dancers start dressed in suits as square executives or finance geeks. Here, the students whom he has worked with for years are brought in from various college workshops, notably Sacramento and Wayne State. The dancers move with a raw power that is hungry and in-yo-face, contrasting starkly with the confidently grounded Free the Angels. At times, they seem to fly off stage with the energy and excitement that they bring to Leichter’s premiere. The movement style is all contemporary hip-hop steps, but Leitcher’s timing is tickier and has that slower b-boy/girl vibe that really lets you see each movement. Scene change after scene change brings us everything from many more looks with different costumes to different songs, each having an exclusive theme. Those kids kill Leitcher’s style and timing as they give each scene its own unique flavor.

I just love this backstage clip of the kids keeping it clean: http://www.youtube.com/watch?v=HVXNO30nJmM

Monstah Black, featured throughout, appears in various modern drag ensembles. In one scene, he enters as if a warped Disney character with pan-like platform boots. These weightless wonders are killer on his snatched little frame,...and...umm...did I mention the fact that they are red and black striped knee-high STOCKINGED 4 inch platform CLOVEN boots? Yes! Work that originality Mr. Black! You go with your bad "balancing like a fawn while bourréeing across stage" self. Never still, his performance unnerves something deep inside your soul, making you say, “What the f@#* is he doing, and why is it so hot?!” Leichter capitalizes on Black's talent for creating colorful scenes. Within

Killa, Black threads together a seamless whole of live song, dance and tricked out performances.

Seeing both halves to the whole is quite a treat as Free The Angels and Killa clash, yet blend, in an "oh so NYC" dance paradox. If you work long enough as a dancer, you are going to work with many types of dancers, but not always on the same gig. Kudos to Leichter for bringing so many different dancer-types together on one stage, not to mention a taste of the bright lights at the prestigious The Joyce Theater. I'm not sure why the two groups don’t dance together, but I'm delighted to see two very disparate halves make a whole.

Photo Credit: Andrew Smrz, Quinn Batson

iDANZ Critix Corner
Official Dance Review by Sasha Deveaux
Performance: nicholas leichter dance
Choreographer: Nicholas Leichter
Music: Stevie Wonder, Monstah Black (live) and other various house/pop music.
Venue: The Joyce Theater
Date: Wednesday, June 24, 2008 @ 7:30pm
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Dance Review: Is Even the Sky the Limit for Larry Keigwin?

Is Even the Sky the Limit for
Larry Keigwin?

 
Today, I will be talking about Larry Keigwin's dance company, Keigwin + Company, which performs this week at The Joyce Theater.  But, first, I would like to talk about my first experience seeing Larry Keigwin's work, which happened not too long ago at the Juilliard Ensemble show this past December.

Larry set a piece on the graduating class, Runaway, which totally blew my mind with its daring, boundary-less use of the stage as stoically scary and robotic isolations accented his driving club beats at unique and very syncopated points in the music, making his work appear very non-traditional even considering the commercial aspects of it.  Now, we all know how super-humanly talented and finely selected each and every one of the Juilliard chil'ren are.  There have been instances in which I will see a work that has been set on this fine bunch and think, "I have met the work of my new favorite choreographer!"  But, then I'll see the choreographer's company in a full repertory performance, and I am just plain bored at best.  This is NOT the case for my viewing of Keigwin + Kabaret, whose opening night gala happened this past Tuesday at The Joyce Theater. 

Keigwin's repertory maintains all of the awesome traits that I saw on the Juilliard kids including (but definitely not limited to) being daring, uniquely robotic, scary and having interesting choreographed rhythms counterpointing the traditional beat of the music (except for the really hard to count opening piece Natural Selection).  Most of all, Keigwin + Company is absolutely BOUNDARY-LESS in everything from the use of the stage (including wings, proscenium and backdrop) as a prop and dance partner as well as the unique way in which the company partners and relates with one another and the audience.

Right before Natural Selection opens the night with a stunning bang, we see the dancers warming up on stage with the house lights up. As the winds and rain of a thunderstorm bring the dancers to an opening position, the house lights dim down.  Many moments in Natural Selection cause dropping jaws and bulging eyes.  The most jaw-dropping moments are when the dancers run upstage to the exposed brick back wall to create a human set of stairs for Ying-Ying Shau to run up in order to literally run sideways on the brick wall so that her body is perpendicular to the ground.  After she runs up the human stairs, two men assist her so that she can maintain the eery sideways running pose. 

The coolest part about this is the quickness in which they form the stairs and grab Ms. Shiau, so that by the time she is up and running on the wall, you almost wonder how she got up there, maybe causing one to wonder, " Is Larry Keigwin touching on choreographing illusions and magic?"   In the midst of Ms. Shiau running on the wall, a beautiful jeté floats over the big square hole in the brick wall (if you've been to The Joyce Theater, you know that this is the spot in the brick back-drop where you'd think a window would otherwise be, but this is just a big, square inset in the brick).  Throughout the piece, Ms. Shiau continues to climb the human steps and onto the wall as if searching for a window as she pounds on the wall.  Each attempt leaves her exhausted, an exhaustion that is brilliantly portrayed on her face and her body simultaneously, reinforcing how effective being an "acting dancer" is. 

Each time the dancers approach the window-less brick, a bright light floods the section of brick that is being traversed while all of the other lights come down, highlighting the drama of these wall-scapades that continue to jolt every viewer because of the briskness in which it happens.  Keigwin clearly and intelligently points out here the process of natural selection and survival of the fittest, even if it means literally stepping on other people to make your way to the top.  Bravo!

Love Songs uses the love songs of three artists to portray three different types of relationships with three dynamically different duets.  The music of Roy Orbison ("Blue Bayou" and "Crying") is danced to by Ying-Ying Shiau and Alexander Gish and touches on the shy, first stages of love or even a first date.  Throughout much of the first piece, danced to "Blue Bayou", they abstain from making eye contact such as when they step touch side by side with their chins coyly resting on their own hand as if posing for a glamour shot.  Just when the audience least expects it, Mr. Gish, quickly pulls down Ms. Shiau's skirt revealing black bloomers.  Clearly embarrassed (another fine example of Ms. Shiau's acting ability), she pulls them up just as fast as they were pulled down, but continues on with the shy dance as if nothing ever happened. 

Liz Riga and Julian Barnett do a fine job of depicting a teasing bait (leggy and sassy Liz Riga) and a really easy catch (Julian Barnett) as they get down and thrashy to Aretha Franklin's "Baby, I Love You" and "I Never Loved a Man".  In both sections, Ms. Riga shows off her ability to make each move, whether it be a flick to the front or a simple soutenu, electrically alluring and sexy from her loose, flying hair to the tip of her toe.  These luring moves drive Mr. Barnett absolutely wild, which sparks some extremely comedic moments such as an entire phrase of music being dedicated to isolated (and alarmingly fast) pelvic thrusts.  Mr.  Barnett clearly wants her bad and finally throws himself on her leg and, like a little kid, clings tightly as Ms. Riga drags him off stage. 

Larry Keigwin and Nicole Wolcott really shine in the world of Nina Simone's "Don't Let Me Be Misunderstood" and "I Put a Spell on You".  It becomes instantly clear that these two people were meant to come together to create Keigwin + Kabaret.   Precise is the best word to describe this duet.  Their world is one of unexpected and counterpointing rhythm.  They freeze, not when the music says to freeze, but when the music says to go, re-shaping the music as we see it.  Sometimes, they lay on the ground and just isolate their hands, which maybe wouldn't be so effective if they weren't as precise as they are.  Their relationship speaks of something unconventional because of the unconventional way that they approach the music with syncopated arm, head and leg movements including their lifts that sometimes end earlier than one would think possible just to emphasize a certain beat (or lack of a beat) in the music, making the viewers gasp!

Tonight is the world premiere of Larry Keigwin's new work, Triptych, and oh what a trip it is.  Triptych has a lot of elements of Runaway, including the driving club beat that is mostly "danced" to by walking.  How is that interesting you ask?  Well, I haven't seen much that's more interesting because of the extremely sharp arm-ography that waves over head as they walk forward with intensely indifferent (yes, that is an oxymoron) stares on their faces with gazes that shoot through the proscenium like laser beams. 

As they walk in right-angled patterns like rats following a sharp angular maze en route to a piece of cheese, their heads never move, making the dancers seems like robots.  Their feet pound the stage floor with ferocity with each step matching the intensity of each pulsing beat in the music.   The hand and arm choreography is extremely intricate in that it rhythmically counterpoints the music (Keigwin is a master at counterpoint).  Once again, the company's precision is highlighted here as they all walk as far down stage as possible and execute arm-ography that looks almost impossible to count, yet their precision causes goose bumps. 

The periods of walk-ography are interspersed with jumps and turns, each of which seems to defy logic like the double attitude jump into a tour that ends impressively premature before leading into a light as a feather fall to the ground.  Imagine an entire communist army marching, marching, marching, and all of a sudden, five members of the group freeze as the rest keep marching.  This is exactly what happens on the very last beat of music!  The whole group is marching, marching, marching and then, all so suddenly, two people freeze in their tracks as the rest keep pounding the stage with their feet.   In Triptych, Keigwin's choreography is so intense and so precise that it causes his dancers to appear to match the energy of an army of 100,000!  As they march off stage, the crowd roars louder for this world premiere than any of the pieces thus far on tonight's roster.

Bicycles, balloons, a two year old girl, a little black dog, a man in a speedo, a long red carpet, hot strutting divas talking on cell phones, and 50 umbrellas all live in the world of Bolero NYC...oh, and did I mention everything on stage is some combination of black and red? Most everyone cast in this piece is not a dancer, an element that brings refreshment and fun to the end of the evening.   Bolero NYC is a piece that was originally commissioned by the Skirball Center for Performing Arts as part of Dance Party!, and I have never wanted to get up and dance more.  Here, Keigwin brilliantly highlights many typical moments that bless the day of a New Yorker many times a week.  One of my personal favorite moments is when a wind blows crumpled newspapers across the stage as someone struggles to walk against the wind and a woman breaks down in tears....all very independently of one another, independent being a very typical trait of a New Yorker! 

A New Yorker rarely flinches or stops for anything whether it be a crying woman or a red carpet being rolled out under their feet.  Yes, a red carpet does get rolled out in the midst of chaos on stage - a chaos that includes the man in the speedo popping the cork of a champagne bottle before pouring a glass for the woman circling behind him, who had just been seducing the audience as she mouthed the words "I Love You!"  After the red carpet is rolled out, a processional of kids with balloons, the ol' bicyclist, the man in speedo and the whole crazy gang parties down the carpet all the way off stage. 

There is a brilliant section in which everyone onstage opens up an umbrella for umbrella-ography when one umbrella turns all the way inside out at which the audience laughs out loud.  At one point, the entire stage clears to reveal a two year old girl holding a balloon.   As she stands there looking inquisitively at the audience for at least ten seconds, we melt at her cuteness and wonder, "Where did this little girl come from", as she has been hidden amongst the 50 people on stage thus far.  There are so many endless questions for Larry Keigwin because of the puzzling yet harmonious picture that he creates on stage.

Larry Keigwin has the ability to constantly surprise his audience with Keigwin + Company.  Whether it be something as small as a nuanced hand or head movement at an unexpected moment or the use of a stage with its backdrops and wings as props and partners, making the work seem site specific, Mr. Keigwin pushes boundaries so far away that they don't exist anymore. Adding to his cleverness is the versatile talent, including comic chops, of his fine company, which produces just one conclusion: the sky is the limit for Larry Keigwin - or is it?

Click Here to check out Keigwin + Company’s hot gala music video!

Photo Credit:  Matthew Murphy 

iDANZ Critix Corner
Official Dance Review by Adrienne Jean Fisher
Performance: Keigwin + Company
Choreography: Larry Keigwin
Venue: The Joyce Theater, New York City
Performance Date: Tuesday, June 23rd, 7:30 PM
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Commentary: Michael Jackson, A Dancer's Tribute to the King of Pop, the Godfather of Commercial Dance

Well, my throat is choked up hearing about the passing of Michael Jackson. It's just unbelievable to me, an absolute shock . . . so INCREDIBLY talented . . . so young. The man who has created the soundtrack of my entire childhood is gone. As a professional dancer, I can definitely say without question that Michael Jackson is the reason why I dance . . . the reason why I walk onstage . . . the reason why I entertain. It was the videos on MTV that inspired me, the moves, the fact that he employed dancers at all to dance with him that made me even want to consider being apart of this business. As each video dropped, I hurried to the television in heavy anticipation. I know exactly where I was when I first saw Rock With You. I know exactly where I was when I saw Beat It. I know exactly where I was when I first saw Remember the Time. I know exactly where I was when I first saw Thriller and how I would shut my eyes when the "high chord" hit and his yellow eyes bugged out. My God, how he influenced me, how he influenced all of us as dancers.

When I heard the news, I was actually in the dressing room just minutes from getting ready to perform. I found it difficult at first because I was really fighting back tears, but as pros, we learn to move on. When we were done, the other dancers and I piled into the car and listened to Michael Jackson songs on 98.7 KISS FM. On my way home, I stopped through Harlem and saw the crowd gathered outside of the Apollo. It was like a block party. We were all gathered around a single boom box jamming to the radio . . . singing, dancing, reminiscing. It was beautiful. I danced and shared tears with my fellow brethren for three hours under the stars and MJ's new wings.

His impact is bigger than Elvis Pressley. Watch any pop and locker, breaker, waver, hip hop freestyle dancer from New York to Tokyo; they all know MJ's moves. I just got off the set shooting for Step Up 3D and the lead of the "Samurais," Cloud, members of the Groovaloos, and the breakers in the cipher circles, all channeled Michael Jackson for his steps. I went to see The WIZ Monday night and in nearly every improvisational moment, from the Lion to the Scarecrow, from the Tin man to the chorus dancers, they all would cop a move from Michael Jackson's repertory.

And such a trailblazer! We forget, if you are old enough to remember the beginning of MTV, that there were no videos as short films on cable let alone black artists even presented on MTV and God forbid black dancers. It was just boring band footage. So, not only did Michael Jackson break the MTV color barrier, but he went in big and sparked an entire movement we still use as a blueprint for shooting current day music videos today! That's major . . . And for us dancers, his blueprint of making dance music videos continues to open opportunities for us to be captured on film and perform with some of the most popular artists that use dance as an intricate part of their show.

Elvis who? To dancers (in the commercial dance world especially), Michael Jackson is everything. His steps, his style is soooooooooooooo recognizable. For one dancer/artist to start a whole dance style that is more recognizable, more imitated than even a pirouette around THE WORLD is just something never been done and may never be done again. We got artists like Usher, Chris Brown, Ne-yo and Justin Timberlake that clearly are influenced by Michael Jackson, but none of their moves are original. Michael Jackson fused his street steps (with the help of choreographer, Michael Peters) with steps that we may have easily found performed by someone like Bob Fosse or Gene Kelly in a movie musical. What's most inspirational to me is how Michael Jackson performs on stages in SOLD OUT shows with legions of fans falling over each other as soon as he pops a balance on his toes. As dancers, we only wish we could make a mark deep enough to attract crowds at stadium level let alone have fans wail for our artistry with such deep support and devotion.

I know when I was in London and had the good fortune to watch Michael perform at Wimberley Stadium, I was in awe of his energy and his ability to sing live and dance in front of the thousands that came to watch him without missing a beat. What an entertainer! A true professional . . . such an inspiration for a budding performer like me at that time. I will never forget that performance.

Now that I'm home writing this piece, I'm getting frustrated with the press continuing to talk about his eccentricities like it's some horrible thing. Hey, in our industry almost everybody is a little eccentric . . . some waaaaaay more than others; however, it is the one thing that marks a true creative type and for some of us -pure genius. And, think of it this way, if us starving artists had as much money as Michael Jackson, we would do some crazy eccentric stuff too with our money. Normal people will never understand; they only show "hate" and try to tear down eccentrics in which they are envious of their success and money (the only two things normal people can find tangible to comprehend). Just watch, in a few weeks a book will come out with a bunch of conspiracy theories on how he died and legal crap. Remember, these people are not artists, just leeches that want money and have noooo respect for the mind of an artistic genius.

King of Pop . . . more like, to us dancers, the Godfather of Commercial Dance. Michael Jackson will always remain in my heart as the most brilliant entertainer/singer/songwriter, the most disciplined artist of the craft, the most consummate professional, and the most influential dancer that has ever lived.

Rest in peace, M.J. I'll miss you. And, on behalf of all iDANZers and dancers across the world, thank you.

See you in the sky . . .

Candice Rox
Senior Editor, www.iDANZ.com

Dance Review: The A.W.A.R.D. Show! 2009 Opens at Joyce SoHo-Who Will Make the Finals?

The A.W.A.R.D. Show! 2009 is truly a reward to the dance community as it seeks to build an improved relationship between artists and their audiences. Premiering in New York in the intimate theater space within Joyce SoHo on June 18, this year’s series of performances will extend into three additional cities including Chicago, Philadelphia and Seattle. 48 dance groups were selected to perform in this year’s competition from a submission pool of 218 from all around the United States. 12 dance groups will perform in each city, split into smaller programs of 4 dance groups on each of three nights.

Audience members are given ballots to rank the dance groups based upon the strength of their art and their ability to move the audience. The three finalists from each night then perform on the fourth date to determine the ultimate victor within that city. The chosen group is awarded $10,000 towards the creation of new work! The two runner-up groups are granted a $1,000 prize. All artists are held responsible for reporting how the funds are being contributed towards the new work.

Apart from the voting process, the audiences take part in question and answer based discussions following the performances in addition to being encouraged to fill out comment cards that provide feedback to the choreographers. A mediator is selected to smooth this process and assure that each choreographer is allotted the same amount of time and consideration. The evening is finished off with a more informal intermingling of audience and artists at a reception. The winner is not announced until the following day, making the culmination of the evening pleasant for everyone.

Vanessa Justice (Vanessa Justice Dance) presents first on the program with an anxiety-driven, abstract work entitled Flatland. Three females in blousy dresses appear against the back wall. They are compelled individually by the same movements, oftentimes as if swept up in some unseen force. As the dancers seemingly stumble about in a sort of waltz, darkened images of them appear along the back wall, conjuring up questions about space and time.

The dancers, like all humanity, have a similar shared experience onstage, yet a disconnect between them exists. Although often in tight formations, the dancers remain isolated within their own spirals of daily toil. The dancers are in an apparent dream-state as they are carried along in a whirling soundscape. Vanessa Justice provides some lovely insights into her own work, though she clearly maintains her belief in the importance of some ambiguity in her dances, giving the audience a chance to apply their own interpretations.

A source of inspiration for Flatland is the concept of a two-dimensional plane, as well as the alternate meanings of plain. Her use of the disappearing and reappearing images are a direct investigation of the dualistic relationship between absence and presence. The unison movement is directed internally, as Vanessa Justice describes the focus of movement originating with the breath. The consistent life experience of breath in its cycle of expansion and compression is depicted by the entire dancing body onstage and is reflected in the nuanced movement of the arms and hands. Ultimately, Vanessa Justice describes her inspiration for her work using the idea of the sublime. She portrays that within a person exists a complex interaction of anxiety and beauty.

Sidra Bell (Sidra Bell Dance New York) presents two excerpts from her developing work, Anthology. Inspired by fashion and influenced by earlier studies in painting, Sidra Bell’s choreography is distinctive and descriptive. Accompanied by electronic percussion, the dancers articulate each movement as they transcribe beautiful, linear and circuitous pathways through space with their limbs.

Sidra Bell explains that her movement development process often originates with the hands through gestures - a natural source for her as a former painter. Inspired by architecture, Sidra Bell is keenly aware of spatial relationships. In the first section presented, Extract I: your distance kept seems to focus on individuals coexisting within society, filling their specific roles. These two sections are organized according to “states of being”, the first being a movement investigation developed from guided improvisations with her dancers. Using this improvisation process enables her to create movement that is organic to the individual dancer, yet a cohesive piece of the whole work.

The second section presented, Extract II: your hands, evokes sensations of manipulation and control issues involved within relationships. Sidra Bell’s choice of costuming confronts typical gender roles. In this duet, the man wears the tutu positioned in strong contrast to the female’s suspendered pants. One might say Sidra Bell uses this opportunity to fully investigate what it is like for the woman to wear the pants in the relationship.

If Extract I is about disembodiment, then Extract II explores embodiment as the dancers experiment with what it would feel like to take on the role of someone else. The duet is captivating, with quick interactive manipulations occurring between the dancers, eliciting a sharp gasp from the audience at its conclusive moment of surrender. With an urban feel, this work tells stories of the people to the people.

DOORKNOB COMPANY, comprised of co-choreographing artists Shannon Gillen and Elisabeth Motley, present The Waiting Room. The duet has an incredible chemistry as they have been creating works together for a decade. The stage is set to recreate the environment of a waiting room with a television playing the film La Strada, whose soundtrack becomes the musical score for the work. The film acts as a conduit, its characters providing impulses for the dancers and a thematic duality of brute versus innocent. Gillen and Motley are true to their intentions of responding and interacting with their environment, their bodies synching with folding chairs and collapsing to the ground.

This personification through dance happens again as they become the static pulse of the soundtrack. These two are so effective emotionally that they are able to seamlessly change roles within the work, even so far as to represent aspects of one person. Gillen and Motley are daring in dance, not afraid to include nudity where it is an appropriate element to portray the inevitable examination. In The Waiting Room, Gillen and Motley engage the audience in the suspense, taking the attention of the audience through every psychological twist. Using humor to lighten the intensity, Gillen and Motley reach a deeper level as they explore the underlying complexities of humanity.

Andrea Miller, choreographer and founder of Gallim Dance, presents Blush. Two portions of the work are presented that would usually contain a ten minute portion between them, however adjustments are made to fit within the context of the program. The opening segment is filled with intense energy and a sort of sexual hunger. The second part is a male duet created with a lovely dynamic between a heartfelt, classical score and the struggling, manipulative movement.

Andrea Miller describes her method of choreographing as beginning with a sort of jam session, in which she is led by the music. Encouraging the dancers to move about the space, they first “get the quality of music in their bones”. Then she sets the same movements to another piece of music, experimenting with how the change in music leads to a change in physicality. Working closely with her dancers, Andrea Miller formulates dynamic dancing. The complete work of Blush is certainly something to look forward to.

Following the dance performance, the audience becomes involved in an informative question and answer session with each choreographer, leading to tremendous insight behind each work. During the following reception, complete with wine, juice and small delicacies, audience members enjoy conversing casually with the choreographers and dancers. This format is a wonderful way to encourage dialogue about dance and build support for the ever struggling dance artists.

The A.W.A.R.D. Show! presents an exciting look at new choreography from contemporary choreographers. It's a wonderful opportunity for choreographers to show off their work and also, perhaps, gain financial backing for the development of new work. The process of the performance with post-performance discussion provides crucial feedback and understanding for both sides, the artists and the audience. This is a wonderful example of how Joyce SoHo succeeds in bringing audiences closer to dance!

UPDATE! The following is an announcement of the winners of The A.W.A.R.D. Show! 2009:

June 22, 2009, New York, NY -- The Joyce Theater Foundation is pleased to announce that choreographer Makiko Tamura (small apple co.) is the winner of The A.W.A.R.D Show! 2009: New York City. Tamura, who competed in a four day event with eleven other participants, received a $10,000 cash award to use toward the creation of a new dance work. Two runners-up, Monica Bill Barnes (Monica Bill Barnes & Company) and Shannon Gillen & Elisabeth Motley (DOORKNOB COMPANY) were each awarded $1,000.

The A.W.A.R.D. Show! 2009: New York City Biographies of the Prize Winners

(Choreographer/Dancer) graduated from the Women's Junior College of Physical Education and Toho Gakuen College of Drama and Music in Tokyo, Japan. She has worked with Nathan Trice/RITUALS, Vanessa Justice Dance, Digby Dance, Ellis Wood Dance and in the works of various New York City choreographers.

She founded small apple co. in 2004. She choreographs, teaches and she is a special guest choreographer/dancer of The Dance Satellite Lecture at The Yamaguchi University Faculty of Education every year in Japan since 2004. She has been presented at newsteps choreographer’s series at Chen Dance Center, Danspace Project at St. Mark’s Church, JENNIFER MULLER/THE WORKS, Dance New Amsterdam and Tisch School of the Arts. She will be showing her work at Dance New Amsterdam presents RAW Material 2009. (http://www7b.biglobe.ne.jp/~small_apple05/)

(Choreographer/Dancer) is a New York based choreographer and performer. She has created twelve evening-length dance works, numerous site-specific events and several cabaret numbers for her company, Monica Bill Barnes & Company. Since moving to New York from her native California in 1995, Barnes choreography has been produced in over twenty venues, including Danspace Project which has commissioned and presented three works; When we were pretty (2002), The Happy Dance (or what started out ok) (2004) and Suddenly Summer Somewhere (2007). Other commissions include Another Parade (2009) commissioned by the 92nd Street Y Harkness Dance Festival, I feel like (2008) commissioned by DanceNow’s 10 Year Anniversary Project and Game Face (2008) presented by Lower Manhattan Cultural Council’s SITELINES Festival. Her work has been presented in 30 cities throughout the United States and abroad. (www.monicabillbarnes.com)

DOORKNOB COMPANY: Manifesto/Credo

Shannon Gillen & Elizabeth Motley

As part of DOORKNOB COMPANY’s integrative approach to dance theater, the company utilizes a rigorous developmental process to explore various conflicts. Environment dictates everything. DOORKNOB, therefore, explores character driven experience and creates movement as a reaction to the constraints of each scene. Movement, text, scenic elements and music work in tandem creating a heightened reality. Performers live truthfully under imaginary circumstances.

Since its establishment in 2004, DOORKNOB COMPANY has performed works at Festival Oltre Passo in Lecce, Italy, Dance Theatre Workshop, The Stella Adler Studio of Acting, HERE Arts Center’s American Living Room Festival, Dance New Amsterdam’s Raw and Object series, The Ontological-Hysteric Theatre, The Lower Manhattan Cultural Council’s Sitelines Series, and Movement Research at Judson Memorial Church. The company’s founders have held residency with DTW’s Fresh Tracks, DNA’s AIR and most recently LMCC’s Swing Space. (www.doorknobcompany.org)

Photo Credit: Bill Herbert

iDANZ Critix Corner

Official Dance Review by Lea McGowan

Performance: The A.W.A.R.D. Show! 2009

Artists With Audiences Responding to Dance

Choreography: Andrea Miller, Elisabeth Motley, Shannon Gillen, Sidra Bell, Vanessa Justice

Venue: Joyce SoHo, New York City

Performance Date: Thursday June 18, 2009 7pm

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Dance Review: Danco is it! Philadanco at The Joyce

 Danco is it!

Danco is it!  I am totally honored to be at The Joyce Theater to see Philadanco perform which is one of the best dance companies out there…. and I mean The BEST.  I’m impressed at their ability to be so in sync as a company, be extraordinarily technical, in addition to being great performers with excellent stage presence and the entertaining ability to “get down” on stage.  The true definition of fierce!  At a time where technique seems to outweigh emotion and passion, Danco is an inspiration and hotter than hot! 

Philadanco, "Enemy Behind the Gates"

The show is a perfect length.  Right out of the gate, the evening starts with a piece choreographed by Camille Brown called Those Who See the Light. This is an all female piece that comments on being “called by the light to become it.”  The costumes are variations of half shirts an pants in grey, black, white, and striped of the same colors.  The choreography emphasizes sharp and intricate arm movements and intense use of the floor. The lighting design is great for this piece as dancers moved in and out of various light patterns and combinations of spotlights.

The next piece, choreographed by Philly's own hip hop legend, Rennie Harris, is an explosive commentary on the political, social and economic change in Philadelphia.  Entitled Philadelphia Experiment, the piece is filled with hip hop history as Rennie touches on every style from house, to break dancing, whacking, and old school club dances.  These dancers are surprising for every body attacked the movement with such fierceness!!!  The piece uses complex rhythmic patterns and foot work that mimics the “rhythms, posture, physicality, and speed of the city of Philadelphia.  Dancers wear pants and tops of earthy brown colors and brown Puma sneakers to match as they show that not only can the toes point, but the booty can shake!  Tommie Waheed Evans gives his soul to the audience as a remarkable lead.  Yaaaas!

Intermission is followed by Hope Boykin’s piece Be Ye Not which is based on the bible verse Romans 12:2 which says “We often feel that conformity leads to acceptance, but ...be ye not conformed to this world, but be transformed."  The dance shows the story of a young woman,
struggling with the idea to be like everyone else. The movement is a range of lyrical movement that could suddenly transform to sharp hip hop movements and funky arm patterns.  Dancers run on the stage in patterns similar to birds flying in a flock symbolizing their conformity. 

The show ends with Enemy Behind the Gates, an explosive piece by Christopher Huggins.  Explosive!  His choreography is where it's at!   It is “ turn, turn, turn, fall, leap, head roll, split, lift, repeat, fall, leap!  Yaaas!  The costumes are a uniform set of fierce skirts for the girls, pants for the boys, and long-sleeved buttoned military shirts for everybody. The movement is a combination of tight military style formations and crazy split’s , leaps and lifts, not to mention ridiculous combinations of petit allegro fuse with athletic modern movements and serious attitude.  Danco eats this piece!

I write these words with ease because of the joy spilling out of me from Danco “representin” at the Joyce.   Joan Myers Brown knows how to pick ’em and these dancers deserve a standing ovation for their skill, professionalism, grace, and last but not least….their fierceness!

Photography by Lois Greenfield

iDANZ Critix Corner
Official Dance Review by JoiLynn
Performance: Philadelphia Dance Company, Philadanco
Choreography:  Christopher Huggins, Hope Boykin, Camille Brown, Renne Harris
Venue: The Joyce Theater, New York City
Date: Tuesday, June 16th, 2009
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Dance Review: Jennifer MULLER/The WORKS- Electrifying!

Jennifer Muller creates an evening of dance with works from the archives to a stunning world premiere.  She has a company of 12 that milked every extension, lift, and suspension, filling The Joyce Theater with life.  A night with Jennifer Muller and dancers is a refreshing finish to a long day.

TUB (created in 1973); the curtain opens with dim yellow light capturing Mariana Cardenas in a clawfoot bathtub with her limbs and long, gorgeous hair draped over the sides.  She flings her head back to send beads of water arching beautifully through space.  We are captivated.  Her solo -serious and intense- leaves me wondering where this is all going.  Pascal Rekoert soon enters with a few others, and they explore this life force that seems to come from the bathtub’s water.  He is coy, energetic, and over 6 feet of striking movement; and from fingers to toes he never stops moving.  Later, we are introduced to Duane Gosa, who remains cool while striding across the stage wearing snorkeling flippers.  He refreshes us with this moment of comedic relief, but once he dives into penché, he is no joke!  Duane takes the cake with his unbelievable balance and swagger in these flippers.  TUB has a hint of sexual energy and one by one they explore what the water grants them.

With Bench, Jennifer takes the second half to expose the vital issue of environmental protection Inspired by Al Gore’s An Inconvenient Truth, the backdrop is running footage of the Earth from creation to its current state; the music is intense, and the dancers are determined.  They start by sitting like ducks in a row on the white bench that occupies a quarter of the stage.  The choreography instantly takes us through the foreseeable destruction of the Earth through solos, duets, and trios- all of which are loosely derived from the seven deadly sins.  The dancers are sensual yet strong, and they definitely know how to partner.  I always enjoy Jennifer Muller’s partnering work, as she never ceases to amaze.  She has created an intense piece and the audience has absorbed her message.

The night came to a close with MOMENTUM (2005), and WOW!  What a blast.  With electric music, vibrant colors, and bright smiles this could not have been any better.  Pascal Rekoert is once again a focal point and his whimsical character keeps the audience engaged and excitedly alive.  He’s joined by the entire company who move in and out of brief, quirky solos.  Everyone loves a dancer who doesn’t take him or herself too seriously! What an amazing night.  Thank you dancers  for pumping a little blood back in our veins. 

Jennifer Muller / The Works Photos by Ben Hider

iDANZ Critix Corner

Official Review by: Caroline Banks
Performance: Jennifer MULLER/The WORKS
Choreography: Jennifer Muller
Venue: The Joyce Theater, NYC
Date: Tuesday, July 9, 2009
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Dance Review: The BANG GROUP - Doin' What Comes Natur'lly

The Bang Group
Doin' What Comes Natur'lly
at Joe's Pub/NYC

Opened by two silent cowboy “pahtnahs” wearing red pajama onesies, doin’ some front porch sittin’, evil-plotting on the neighbors, and understated dance partying – The Bang Group’s SHOWDOWN is already a hit.  I am literally crying with laughter and have found that not for the life of me can I describe how funny these two are.  Listed in the program as “Silent Hosts”,  Deborah Lohse, the uber-tall self-proclaimed “ugly duckling”, and Monica Bill Barnes, the half-her-height little fireball, light up the stage with their intentional lack of personality and Johnny Cash soundtrack.  (Pic is of a different performance but gives you an idea!)  When Monica raises her two mini-guns and spins them at hyper-speed over her head for nearly two straight minutes with the straightest of faces, it is over for me.  I could not breathe. The whole show is worth it just because of these two - hilarious bookends to the actual meat of the show!

Getting to that meat…  The evening is June 4, 2009 and Joe’s Pub is hosting Dancemopolitan through DanceNOW NYC.  DanceNOW “strives to renew and reclaim dance as an integral part of our lives.

DanceNOW experiments with "traditional, emerging, and alternative means to bring dance and community together by partnering with other arts organizations, sharing resources, and creating distinctive events to offer audiences a more tangible experience with contemporary dance.”   Founding directors and producers, Tamara Greenfield, Robin Staff, and Sydney Skybetter, keep shows brief using a “less is more” approach to keep audiences wanting more from their featured NYC choreographers.

This Thursday evening, DanceNOW features THE BANG GROUP with fresh and enticing choreography by David Parker.  Through a special arrangement with The Rodgers and Hammerstein Organization, the group twirls, taps, and partners their way through the entire score of “Annie Get Your Gun.”   Dressed in denim jeans and button down flannels, the cast of eight is a picture of the Wild West.

 

Parker’s “Annie…” is not your typical musical theatre bit – but instead very modern, ballet-based and full of contemporary partnering.  He sprinkles it with humor which brings so much humanity and humility to the performance.  I am on the edge of my seat trying to decide how some of those lifts are possible- and on such a small stage. The most unique part is the blending of gender lines as we saw tons of AMAZING, never before seen man-to-man partnering.  The occasional guy/girl lifts are also beautiful, but it is the overwhelmingly genuine, flowing movement between the men that really speak of Parker’s intention for the overall piece.

That intention is directly supported by Parker’s “bonus track” – a witty vocal duet of “Old Fashioned Wedding”, which he sings with company dancer Jeff Kazin.  The two have lovable chemistry and definitely go all out with a big ol’ musical theatre tap break!  The audience is all smiles and loving this genuine portrayal of love crossing all boundaries.   I’d definitely follow the Bang Group onto their next endeavors...  Doin’ what comes natur’lly.

Dancers as described by Parker:  The perspicacious Bryan Campbell, the triple-stilled Terry Duncan, the sagacious Nic Petry, the go-for-broke Amber Sloan, the bewitching Marissa Palley, the blooming Megan Flynn, and the nefarious Jeffrey Kazin.

iDANZ Critix Corner
Official Dance Review by: Sheena DiMatteo
Performance:  DanceNOW [NYC] presents ShowDown
Venue:  Joe’s Pub at The Public Theater
Choreographer: David Parker and The Bang Group
Date:  June 4, 2009
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