iDANZ Critix Corner

Dance Review: Blues, Rock, and Rachmaniov! -Complexions at The Joyce Theater

noreply@blogger.com (iDANZ) — Sat, 20 Nov 2010 00:54:00 +0000

On opening night of the Complexions Fall/Winter season at The Joyce Theater, the audience, comprised with many power players of the dance world, not only buzzes with excitement and anticipation, but also disappointment. We hear that dance royalty, the breathtaking brilliant and talented, Desmond Richardson, is suffering from an injury (received earlier in the afternoon) and is not dancing in this evening's performance! ....Eee Gads ...Say it ain't so! Like many audience members, I question if Complexions’ performance will possess the same virility with the absence of Richardson.

The curtain rises, and any doubt in the room dissipates with an exploding big bang as Dwight Rhoden’s Moon Over Jupiter takes shape over Rachmaniov’s score. A meteor shower of momentum and dynamics, the ballet showcases the extreme unique talent and technique of all the Complexion dancers. Like an orbiting solar system, the dancers move in organized chaos into an eclipse of synchronization. Metallic, spider webbed leotards and shorts expose the dancer’s thoroughbred, horse-like muscularity, direct proof that these dancers are pushing their physical means. Clifford Williams, the shooting star of the ballet, demands attention with phenomenal extension and effortless fluidity of movement that only the trained eye would understand the extreme complexity and challenge of the choreography.

On Holiday opens part duex of the evening and relies on the show business aspect of dance. Slightly reminiscent of Twyla Tharp’s Nine Sinatra Songs, On Holiday is danced by four couples expressing four stages of love. Each couple embodies the lyrics of Billie Holiday, but Christina Dooling and Edgar Anido really transport the audience to a Love-Hate relationship. Intensity and heartache emanate through the audience as Doling and Amide manipulate each other to provide a heart wrenching performance.

Originally, to follow On Holliday, is Richardson to dance A Goldberg Variation, but instead, Christie Partelow and Mark Caserta dance Rhoden ‘s Spill. Entering with abandonment in a grand jete lift, Partelow and Caserta leave you with no regret from missing Richardson’s performance. In complete unison, they dance in a continuous stream of intricate and exhilarating partnering. Like riding a rollercoaster of constant excitement and unexpected turns, Rhoden’s Choreography escapes all predictability confirming his much revered status in the realm of today's contemporary choreographers.

A fun and lively Moody Booty Blues is like the after hours employee dance scene in “Dirty Dancing” where Baby meet Patrick Swayze for the first time. The dancers dance fearlessly with grounded movement and soulful rhythm. Moody Booty Blues showcases the young talent of Complexions; Gary W. Jeter II sets a very high bar with his opening solo of insane syncopations and intricate isolations and Peter Chursin and Stefano DeMartino match Jeter’s energy. Chursin is especially captivating with his flawless technique and exquisite lines. After grabbing my attention, I couldn’t stop watching Chursin in the finale piece Rise.

Rise, which Rhoden choreographed to various songs by U2, opens with the song “The Streets Have No Name” and one man running in the spotlight. High impact choreography plus Bono and the Edge guarantee an awesome performance. I have seen U2 live in concert several times, and the Complexions Dancers even give Bono some competition.

Complexion dancers are a dynamic breed of physicality that is unparallel to most contemporary and ballet companies. The dancers elevate the choreography and provide a powerful performance of non-stop impressive feats.

Complexions Fall/Winter season continues to run through November 28^th at the Joyce Theater.

iDANZ Critix Corner
Official Dance Review by Katherine Gibson
Performance: Complexions
Choreographer: Dwight Rhoden
Venue: Joyce Theater, New York, NY
Show Date: Tuesday 16th, 2010
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Dance Review: Treeline’s Show and Tell; the Proper Way to Play

noreply@blogger.com (iDANZ) — Fri, 19 Nov 2010 03:50:00 +0000

Happy Birthday Treeline Dance Works! Although this one-year-old company may be just a baby on the dance scene, kiddos look out because she is growing in vigorous leaps and bounds…quite literally, in fact!

Her first full-length show, In Transit, demonstrates how technical prowess can meet child-like playfulness. Throughout, dancers play their bodies like musical instruments as they weave intricate formations and portray comedic/disturbing narratives. They seem to make games of spatial patterns as they move like scattering marbles or jumping checkers. All is accomplished with outstanding precision and ease. These ladies are not only capable of great feats of agility, but also of an honest connectedness to each other on stage.

All hailing from SUNY Brockport, company members Erin Johnson, Caroline Nelson, Jessica Reidy, Jenny Showalter, and Lyndsey Vader are a fox-force-five to be reckoned with. Lyndsey Vader’s sense of control, for example, in her solo “Pulse/Apology”, is breathtaking to watch. What astounding technical abilities she has with her brilliant execution of delicate balances and sharp, quick movements, all while speaking about the sound of her pulse. My heart stops, like her narrative describes, as she rocks in-and-out of warrior III, flips around to relevé and halts deftly on a dime. The disturbing last image, a fist under open palm, looks like a heart with splayed aortic valves. Oh, Treeline, you’ve kindled my inner-child’s imagination!

Immediately following is another energetic solo performance by Jessica Reidy, in “The (un)Natural Art of Dating.” This rousing jaunt into 1950’s dating has me enchanted from the get-go. Reidy instructs her audience members on the do’s and don’ts of catching a mate by winking, batting her lashes, and, my favorite, wetting her eyebrows! She explains the importance of holding a longing gaze as she performs an Exorcist-like head rotation. Absolutely brilliant! Her ensemble, Erin Johnson and Caroline Nelson, are perfect. The threesome dance-on together with the subtle pin-up sex-appeal of the Andrews sisters. The characterization is complete as nostalgic music plays and house-wife aprons sway, leaving me all giggles and smiles!

“Traveling to Recall A Becoming Of,” choreographed by Jenny Showalter, is another heavy weight champ in this choreographic line up. Here, the playfulness comes forth in the port de bras, as the girls use various arm gestures to draw lines in space. They make pulsing gestures with the hands, long reaches of the fingers and very specific movement like poking, jabbing, threading-the-needle, etc. Here, Showalter carves out space on stage by having the dancers spin in circles and run in diagonals. She also creates the image of hallways as the dancers run upstage to downstage. If Jeffy, from Family Circus, were dancing, he’d leave one helluva dotted-line map on stage!

Beautiful spatiality also appears in the opening piece, “Caged Until”, which is, in my opinion, the most outstanding piece of the evening. This piece represents Treeline’s sense of play perfectly. Audience members are greeted by the upstage right violin trio, whose diagonal bowing movements seem to inspire the entering dancers whose outstretched arms oppose outstretched legs in an off-balance tilt. Lovely! They move in and out of unison, using musical phrasing and quick level changes to create a gorgeous symphony.

Again, Showalter is a master at choreographing spatial arrangements. I find myself so entranced by her patterns that I fail to notice how suddenly, the dancers are lined up at the stage's edge with their backs to the audience. A musical change happens, as the fourth wall is broken, and my experience shifts from spectator to insider. I become engaged in their game.

Yes, the rest of the piece is like a game. A series of place-switching follows as they stir up space like in a game of tag. This leads to another line-up, but this time, a wall line-up for picking teams on a playground. There is a persistent theme of odd-man out, which is perhaps representative of playground politics. Signature to Showalter’s style, specific hand gestures are repeated in motifs, i.e. a head cradled in a partner’s hands, and, most memorably, the fist meeting the open palm as when rock meets paper in “rock, paper, scissors”.

Favorite moment in the entire show: a dramatic lift where one dancer grabs hold of another’s waist and hoists her own lower body into the spot where bodies should collide, but the third dancer ducks in the nick of time! Shocking and yet not shocking at the same time because this is so characteristic of how fabulously these femmes dance together. They dive into near-miss lifts and athletic floor phrases, as fearlessly as a five-year-old does a flying dismount off the swing set!

The playful nature continues well into the second act. In Jenny Showalter’s solo, “Kilter”, weight-play rules. With the music reminiscent of a French bistro or circus, I imagine Showalter as a mime on a tightrope at times. There's an off-balance circular section that conjures the image of a spinning top as it begins to lose steam. Unfortunately, the rest of the second act begins to lose steam as well. I notice an overwhelming music trend throughout the evening: strings. And while nice to start, I find the use of violins and/or cellos (in over half the pieces) to be a bit tiresome by the end, and soon crave something different.

While the music DOES support the playful style—switching drastically from slow and meditative, to speedy and virtuosic—it can be on the verge of melodramatic as is the case with “A Shell of Herself.” In this text duet, Lyndsey Vader and Caroline Nelson pounce around like ferrets, squeaking out lines barely audible above the intense music, which is building unnecessarily. I feel as though I am watching a soap opera, one where the actors are clearly reading cue cards. The text seems superimposed and not at all connected with what the dancers are saying with their bodies. If we put the whole piece on mute, as Lindsey does to herself in the beginning of the piece (a moment I actually love), then the message would read something like this: “Look at this. Look at me. Look at all this dancing. See these tricks? My leaps and kicks? I’m flexing, pointing, leg-extending, rolling and panting… all in my undergarment dressings.” Perhaps this is all intentional, referring back to the title, “Shell of Herself”. The one time Nelson says, “I don’t know what that means,” face-to-face with Vader, I finally believe her. But then, the movements quickly return to that familiar dance/yoga/Pilates vocabulary, and I’m even more anxious to see something different.

Similar are my feelings on the last piece, “Unearthed Moments.” Playful still, it begins with counting, like a young girls’ hand-clapping song. I adore the choice of all heads looking up at the first number, “four.” This reminds me of the attention-catching word “fore” used in golf. But the movement is still all so akin to what came before, and at this point, I’m desperately waiting for them to produce something outside the choreographic sandbox: to get away from codified dance for a moment and explore moving more pedestrian or with more subtlety. The moment of saving grace happens when Caroline Nelson sits perched atop supporting bodies and does a slow pan across the audience. Yes! Slowness. Stillness. A moment to reflect and digest. In fact, I love the subsequent slow motion movement wishing I could see more of it!

Overall, Treeline does a beautiful job of painting the canvas with lots of detail and activity, but one doesn’t necessarily have to show all one’s cards at once. I think they can afford to do less, in some respects. Going back to “Pulse/Apology”, the silent score supports Vader’s moments of suspension beautifully, and I find myself wishing it would last longer when jarringly, a background score of medieval chants is introduced. Although the sounds are haunting, they are also distracting from the text. Perhaps if the music were more sparse, I’d be able to decipher the text better.

In Transit marks a choreographic rite-of-passage; the event where artistic directors Jenny Showalter and Lyndsey Vader show form a synthesis of what they’ve gathered over the past few years—from schoolings at SUNY Brockport, residencies in New York and Chicago, and mentors such as Pamela Vail, and Don Halquist (guest choreographers in the program). What an appropriate title indeed! Congratulations to them as they make this daring transition from the classroom/studio into the professional dance world. And while there are always points to work on, there are outnumbering points of interest that give this company much success!

iDANZ Critix Corner
Official Dance Review by Teresa Lynn
Performance: Dance by Treeline Danceworks
Venue: Center for Performance Research, CPR
Show Date: November 6, 2010
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Dance Review: Eryc Taylor Dance, Pushing Boundaries

noreply@blogger.com (iDANZ) — Mon, 15 Nov 2010 21:17:00 +0000

Eryc Taylor Dance wraps up an amazing sold-out run at Joyce SoHo in Spectacular fashion. With excitement, grace, power, and beauty, this is a company to watch. The company, consisting of Isabelle Fernandez, Gierre Godley, Dillon Honniker, Carly Mayer, Michelle Pellizon and Danielle Schulz, is filled with excellent performers exhibiting with "no holds back" what great dancers they are!

The evening opens with Drowntown. Amazingly athletic and energetic, this is a powerhouse. The dancers weave and dodge one another without missing a beat, yet join each other to prove a point at different times. It is inspiring... Imagine walking through Time Square at rush hour. Watch out or you will get left in the dust!

Next on the program is Wraith. Danced by Michelle Pellizzon and Danielle Schulz, this piece is hauntingly beautiful. With costumes by Tonatiuh Otero, they look like beautiful red Nymphs. Showing their clean and pure technique, they dance in tune with each other ever so effortlessly. Nymphs in a time of loss, they are still, however, hopeful for what is to come... Beautiful!

Moving on to The Polarity, danced by Gierre Godley and Dillon Honiker, all I can say is WOW!!!! Showstopper. They both dance with power and masculinity; it is refreshing. Throwing themselves on each other without a care in the world, they are out to kill! I am immediately put in to the frame of thought of watching “The Matrix”, a wonderful fight scene with all the special effects coming to life right before me. This (The Polarity) is wild abandon at it's best!

The Missing, danced by Michelle Pellizon, is next and what a shocking surprise... She is a revelation in this piece shaking, twisting, and contorting her body into oddly beautiful positions. It’s really amazing. Merging her beautiful technique with the oddest of moves it is like watching a drug addict fight through withdrawal. Happiness, sadness, longing, and cravings she is going through all the emotions right before your eyes. I am happy to report she wins in the end! Congrats!

And finally, Terminus, wraps up this wonderful evening. Danced by the company, they save the best for last taking complete command of the stage and not being afraid of it. The power of the dancers fill the floor bringing the audience to the edge of their seats. Their movements are faster, sharper, and clean, as if to put the final stamp on the evening. Wearing costumes by Keiko, they leave the audience wanting more and ready to stand up and join in! Eryc Taylor Dance is one company not to be missed.

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance Eryc Taylor Dance
Venue: Joyce SoHo
Show Date: November 13, 2010
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Dance Review: Neil Greenberg - Saggy-Crotch Tights are the Cats Pajamas!

noreply@blogger.com (iDANZ) — Mon, 15 Nov 2010 16:03:00 +0000

By George—or better yet, by Merce—Neil Greenberg’s got good design; this former Cunningham dancer not only knows how to make a fashion statement, but also how to make statement, a fashion. His past works have made quite the mark, inviting audience members to question status-quo gender roles, ponder common assumptions about HIV/AIDS, and interrogate what society associates with homosexuality. And now, his latest work, (like a vase), continues the expedition into the social-norm jungle.

Take for example the opening section, which brings to light the status-quo obsession with looks, and body image. We see dancer, Johnni Durango, enter and stand center stage amongst the inanimate columns and vases. Suddenly, she is no longer a dancer, but an object: a thing to be looked at, studied, and critiqued… like a piece of art —like a vase!— and perhaps like a candid celebrity beach body shot in US Weekly. Thanks to a humorous recorded narrative by Ruth Draper, “A Class in Greek Poise,” the words guide us further into this judgmental state of mind. As we look at Durango —tall and slender— we hear Ruth say “214 pounds?...oh its 241 pounds? Bloomers please.”

“Ladies, line-up” Ruth continues. And Durango assumes a pose on relevé, hands behind back and elbows bent… like the wings of an exotic bird. (well with plumage like that of her loud, patterned tights, she’d have to be exotic!) Perhaps some abstract ode to Barbie? Or…as Ruth gabs on and on about poise, Durango starts strutting around with delicate, toe-pointed steps; she circles the column-confined area, and I feel as though I’m watching a peacock parading round its pen at the zoo.

Neil Greenberg, who by this point has furtively entered and placed one vase at each column’s base, begins clapping. It’s not, by any means, directed at Durango, but because of her spatial arrangement, the model strut she just gave, and what transpired in the narrative, I connect the dots, and interpret that he is, indeed, applauding her.

Here’s the unique thing about Neil Greenberg’s choreography: many of the goings on—the score, the dancers, the set, the musicians—have the strength to operate independently from one another. But when they do sync-up coincidentally, they suddenly seem intentional… and then there’s meaning in them thar hills! So although Neil’s clapping at that exact moment may seem intentional in relation to Durango, as the piece goes on, clapping returns in other moments as part of the phrasing, and by contrast we see there may be no meaning at all: it’s just a neutral gesture. How about a dancer taking a sip of coffee, followed by a sip of water off-stage? It appears to be a pedestrian gesture of no meaning. But take the same movement, and have two dancers do it in unison, and suddenly, I notice myself trying to “figure it out”.

This is Neil’s other obsession, which now has become mine too: “tensions created by the seemingly inescapable human desire to create meaning.” The eccentric movements may coincide with the score, and by default, I can’t help but draw a connection for them. Ruth says “swing your weight forward” and the dancers do swinging movements with their arms. As musicians, Zeena Parkins and Shayna Dunkelman, tune up the harp and other instruments, the text speaks of using one’s breath like a “musical instrument.” Another cue, via the text: Ruth is “prancing through the forest” with the hypothetical fat girls she is coaching. Greenberg and Luke Miller are prancing about the space too… in the most laugh-out-loud-funny way! And later, Paige Martin’s vibrating palms begin as a move all-their-own; but once paired with the echoing sound of the harp, it looks as though she is struggling to cage the sound between her two hands.

I am tickled by my ability to connect the dots and create meaning. We all are... everyone giggles with delight at the sight of two dancers sipping coffee in unison. We all love to feel like we “get it.” But we also love to be challenged. Several times throughout the show, a dancer brings a microphone stand on-stage, taps and blows into the mike, but says nothing. Hmmm…what does that mean? I question.

Similarly, a move may be repeated several times throughout the show, but in different contexts; the audience is prompted to question why they felt a certain way about it the first time, and differently the second. I watch Mina Nishimura introduce a head tapping solo far upstage left, behind the musicians, and partially obstructed by the light booms. She is clearly lit, so I am clearly drawn to watch her, and yet this is the first time I give my full attention to a dancer who is not dancing on the white marley, “pedestal” stage. Shortly after, Collin Stillwell does this same movement on stage, and I wonder: is it the status-quo to label movement on the marley as “dance,” and movement off the marley as “not dance?” Does placement determine what something is and isn’t?

The exquisiteness of Greenberg’s work is his ability to provoke such philosophical battles. Also noteworthy is his ability to give dimension: the simplicity of his movements, the repetition, the sparseness on stage alternated craftily with crowdedness…also the sparseness in the score alternated with lushness. There is time for movement, and time to digest. Repetition occurs, and we reflect once more; contemplate and re-contemplate. The openness of his dance score allows audience members time and space to think… feel… and ponder….. all while experiencing something truly beautiful! What a wonderful gift!

A cornucopia of beauty, in fact, besides the dancing, there’s a beautiful set to behold! Four black vases are lined up in a row: their stark silhouettes in contrast to the white marley floor. Also prominent are four white columns, arranged in a square, and a giant turquoise harp upstage. This scene harkens to Greco/Roman classical art…a Michelangelo painting perhaps.

The harp is obviously functional: also creating beauty for the ears to hear, thanks to the ingenious musings of harpist and composer Zeena Williams. In this city where time and space are hot commodities, I rejoice in the moments of inserted breathing time to bring notice to all elements…. even the musicians themselves. For example, there is a long instance where no dancers are on stage—just the musicians playing their instruments—and I am perfectly content watching them do their thang!

The openness of Greenberg’s dance score lends itself to be pondered, questioned… and personalized to tastes of the individuals watching it. My neighbor may see one way, and I another. Neil’s work doesn’t limit itself to one definition, and that’s part of the gift as well. Greenberg’s passion for artistic statement is strong… but even stronger is his passion for the audience. He makes his work accessible, choosing to include the public on his exploration of social norms, as opposed to alienating them with high-brow airs. How considerate and generous! (like a Vase) is really like a gift: an hour of pure, thought-provoking stage play, handed to the New York public like a delicately wrapped piece of ceramic art.

So little pilgrims, the thanks-giving season is upon us; and now is as good a time as any to remind ourselves the importance of thank you notes. You may not have liked those pajamas Aunt Millie gave you last year, but you will definitely like Neil Greenberg’s multicolored, psychedelic saggy-crotch tights!... and even more so, his work (like a vase). It is a masterfully crafted gem, certainly worthy of the pedestal he puts it on for all to enjoy. Please thank him by seeing this show!

iDANZ Critix Corner
Official Dance Review by Teresa Lynn
Performance: Dance by Neil Greenberg
Venue: Dance Theater Workshop, DTW
Show Date: November 9, 2010
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Dance Review: The Strong and the Beautiful, Cedar Lake at The Joyce

noreply@blogger.com (iDANZ) — Sat, 13 Nov 2010 10:20:00 +0000

Well, what's there not to say about Cedar Lake Contemporary Ballet? A diverse repertory company of exquisite technical beasts would be dream and playground for any guest choreographer; or, so it seems, based on the three works on the bill (Sunday Again, Unit in Reaction, and Hubbub) for one of their evenings at the Joyce Theater.

The evening opens with Jo Stromgen's Sunday Again, a lighthearted, whimsical portrayal of a collection of lovers all dealing with the usual feuds and qualms of being in a relationship paralleled to back and forth quality experienced in a tennis match. Literally. Props used include a tennis net, raquet, and plastic shuttlecocks that randomly appear from underneath clothing. All this in place is a quaint and neat set-up for a perfectly boring piece. However, Stromgen infuses stark humor via unexpected male/female moments of roughness, lesbian eroticism, and other social behaviors such as spitting and gossiping amongst themselves. Overall, these nuances work well together in Strongen's choreography to keep the audience in tune and alert to fleeting moments of wit.

The dancers shift into a much darker and somber mode in the next piece, Unit in Reaction, choreographed by Jacopo Godani. In this adrenaline-driven suspenseful piece, the dancers seem to operate as if they are all apart of a machine, or better yet a group of lab rats under experimentation and our surveillance. The dancers create luscious lines and move intricately between each other in breathtaking duet and solo work. Godani's work digs beneath the surface and accentuates all that is juicy in this company and just uses technique as icing on the cake.

The evening closes with my favorite work, Alexander Ekman's Hubbub. Now although the concept of the piece has been done before (there is no such thing as a new idea) Ekman took it to a new level! This is one of those pieces where no amount of words can do it justice. You just have to see it for yourself. But here are a few personal highlights: the suspended typewriter, rhythmic breathing phrase, accumulation, and a perfectly cute duet performed by Nikemil Concepcion and Harumi Terayama in which we hear a recording of the dancers personal thoughts as they execute each step. Hubbub is one of those pieces that is difficult to walk away not just liking, but also, finding yourself talking about for the next few days!

You're probably wondering how I can critique Cedar Lake Contemporary Ballet and not highlight any dancers. Simple. They are all ridiculously good looking and beautiful artists. So here we go: Jubal Battisti, Jon Bond, Nickemil Concepcion, Gwynenn Taylor Jones, Jason Kittelberger, Ana Maria Lucaciu, Navarra Novy-Williams, Oscar Ramos, Matthew Rich, Acacia Schachite, Harumi Terayama, Vania Doutel Vaz, Manuel Vignoulle, Ebony Williams, and Golan Yosef... You Rock Fierce!

iDANZ Critix Corner
Official Dance Review by Simone Sobers
Performance: Cedar Lake Contemporary Dance Company
Choreography: Jo Stromgen, Jacopo Godani, Alexander Ekman
Venue: The Joyce Theater, New York City
Show Date: Tuesday, October 26, 2010
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Dance Review: Garth Fagan Dance at The Joyce

noreply@blogger.com (iDANZ) — Sat, 13 Nov 2010 02:49:00 +0000

Garth Fagan Dance celebrates its 40th Anniversary this week at the Joyce. The Rochester-based company, famous for its modern-meets-ballet-meets-Afro-Caribbean aesthetic, delivers a varied program through Sunday. It revives several company classics, premieres two new works, and introduces the choreography of company member Norwood Pennewell. There are some hits and misses in this ambitious line-up.

The evening opens, as it always does with this company, with Fagan's opus Prelude. The piece begins with Pennewell leaping onto the stage in complete silence and hanging still with one leg extended behind him in an almost balletic attitude. He balances for an amazingly long period of time, then, with a flurry of arms, a turn and a somersault, he finds himself casually balancing his leg aloft again. Thus begins our lesson on Garth Fagan's technique. The number is intended to introduce Fagan's unique style, and for anyone who's ever been in a dance class, it reads like... well,... like you're watching a dance class. Not the most exciting piece of theatre. For those who haven't been in a dance class, apparently it's fascinating, at least judging from the rambunctious applause at Prelude's conclusion. But to me, it is plodding and pedantic. I appreciate the technique of Pennewell and the others, but then I want them to let go of it. Dancers go to class to focus on technique, but when we go to see dance performed, we want to see dancers in whom technique is so ingrained that they are able to soar. Unfortunately, in Wednesday's program, I rarely saw that happen.

Prelude is followed by an sensual duet from the company classic Griot. This intricate, slowing-moving duet between the leggy, muscular Pennewell and the equally leggy and muscular Nicolette Depass is one of the highlights of the evening. As disappointed as I had been with the first piece, I couldn't take my eyes off of the dancers in this slow, inventive duet of shifting shapes set to a luscious soundtrack by Wynton Marsalis. Here, in the capable hands (and arms and legs and even chins) of two of Fagan's senior dancers, you see an intensity that overrides the pedantic of the first piece.

Pennewell's choreographic debut, Hylozoic, once again hits you over the head with the Fagan technique. But Pennewell has proved himself to be an excellent at jumps, and this piece gets off its feet-- literally-- in a more exciting manner than Prelude. Set against a backdrop of a single curtain, the dancers defy gravity as they twist, leap and twirl through the space. Nicolette Depasse shines once again on a stage full of lithe, athletic dancers.

After those two highlights and a brief intermission, the program once again descends into a very formal, repetitive exploration of the Garth Fagan technique. Thanks, Forty seeks to honor the company's anniversary, but it isn't until the fourth movement, entitled Fete-Joys, that you get to see the heart and soul of the company. When the three original dancers come out and dance without restraint, you begin to see how this might have been an explosive company twenty years ago.

Still, Garth Fagan is a must-see for any enthusiast of modern dance. Their historic ascent of the New York City dance ladder has become legendary and inspiring for dancers of all ages. The newest members of the company show great promise, while the older ones amaze us with their dedication to and mastery of Fagan technique. Each year they return to The Joyce Theater to make their indelible mark on the dance scene.

iDANZ Critix Corner
Official Dance Review by Molly Sorohan
Performance: Garth Fagan Dance
Choreographer: Garth Fagan, Norwood Pennewell
Venue: The Joyce Theater, New York
Performance Date: November 10, 2010, 7:30 pm
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Dance Review: Cedar Lake Contemporary Ballet at The Joyce

noreply@blogger.com (iDANZ) — Sat, 13 Nov 2010 02:41:00 +0000

Cedar Lake Contemporary Ballet, the ultra-sexy company formed by Wal-Mart heiress Nancy Laurie, burst onto the scene in 2003, garnering innumerable Dance Magazine covers and glowing reviews. On Wednesday night, I impatiently awaited the rise of the curtain on the company's second program of their fall season at The Joyce. The bill featured the company standard Sunday, Again by Norwegian choreographer Jo Stromgren, and the New York premiere of both Hofesh Shechter's The Fools and Didy Veldman's frame of view.

Sunday, Again, which premiered in Oslo in 2008, explores the combative nature of relationships using the slightly random metaphor of badminton. (Who among us doesn't relate to badminton?) However, quite a few of us can relate to dysfunctional relationships and the emotional life of each couple is earnestly expressed with fluent, graceful lines and breathtaking partnering. The opening duet between Jason Kittelberger and Acacia Schachte is particularly elegant. Likewise, Harumi Terayama's playful interlude with partner Jubal Battisti showcases her lightning feet and youthful vitality. But while themes of loneliness and ostracism weave in and out, the piece never really comes together. For all the exacting technique and effortless duets, one is left thinking, "But why should I care?"

The world of the second piece, Hofesh Shechter's The Fools, contrasts sharply with Stromgen's world of badminton and refined aggression. Shechter's darkly lit set creates a menacing atmosphere, and the opening sequence immediately catches your interest, with eight dancers, or Shadows, clothed in what appear to be black straitjackets, dancing wildly to a series of drumbeats. Then the Fools enter: seven characters in their underwear, hunched over, stepping deliberately in riveting slow motion. By part two, the Fools are fully dressed in clone-like office wear, and the choreography becomes more stilted and mechanical to reflect their inner life. Schechter's choreography retains a sense of the unexpected, with breakouts by the Shadows interwoven with the Fool's choreography, which, as the piece progresses, becomes more desperate and absurd. Soloist Manuel Vignoulle steals the show with his gut-wrenching, athletic solo.

In the third and final piece, Didy Veldman's frame of view, nine lithe, sinewy dancers glide between a series of three rather flimsy doors, designed by Miriam Buether. The doorways are meant both literally and figuratively as passageways to happiness and tragedy. Though enjoyable overall, the ballet leans towards the latter half of the term "artsy-fartsy," due mostly to Veldman's tendency to incorporate spoken word into the soundtrack, which in this case was distracting and annoying. Still, several vignettes resonated deeply: the lonely, sexy ballerina dancing a duet with a faceless figure through a rubber-paneled door, a slow-motion fight where Terayama's features and technique are used to maximum comic effect, and two lonely souls sharing a turtleneck in a lovely, pitiful duet. frame of view had the most personality of the evening and offered the most humor, insight and catharsis.

Does Cedar Lake live up to the hype? Not with this program, no. But they certainly proved to be a risk-taking company full of beautiful, powerful dancers. I am curious to see what their next steps will be.

iDANZ Critix Corner
Official Dance Review by Molly Sorohan
Performance: Cedar Lake Contemporary Ballet
Venue: The Joyce Theater, New York City
Show Date: November 2, 2010
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Class Watch: Camille Brown, “Keep it Simple, Keep it Real and Give a Tendu Soul”

noreply@blogger.com (iDANZ) — Fri, 12 Nov 2010 17:58:00 +0000

A major concept that’s branded on your body after taking a Camille Brown master class is that you can get a lot out of the simplest steps by adding soul. Whether it’s injecting a little spirit into the rond de jambe that flirtatiously traces circles on the ground, the port de bras that resists each position, or the tendu that angrily pushes the floor away, Camille Brown will be a very satisfied teacher if she sees this from her students.

If height were measured in spirit, Ms. Brown would be 50 feet tall. Instead, this petite woman walks into a room commanding the presence of a giant with her sparkling eyes, her articulate phrasing (words and dance) and a proud, lifted heart chakras. Every time Camille speaks, fireworks seemingly burst out of the top of her head (for an image, just think of her awesome, colorful firework-like hair) because not only does she put passion into every little thing that she says to the class, but she also does this as a proud, strong dancer with energy bursting in different directions as she speaks. I already knew of her incredibly inspiring performances, but now I know that she inspires just as much as a teacher, which in turn will create the tradition of passing her teachings on and on and on.

A couple of years ago, Ronald Brown taught a master class series at Steps, and a philosophy that this master drills hard is "do the exercise correctly the first time and do it with soul". In a nutshell, he explains that you plain and simply don’t need to work as hard if you do it full out, correctly and with feeling immediately. Having danced under Mr. Brown in his company Evidence, it‘s clear that she has integrated Mr. Brown’s philosophies into her teachings and preaches them in her own style. I can't say that Ms. Brown has a short warm up (her warm-up is 1.5 hours of the 2 hour class), but she sure does keep things simple and emphasize that we should milk every movement with resistance and spirit.

Of course, to be able to rise to the level of adding artistry to the exercises, you have to know the phrase well. Don’t worry, Ms. Brown will be sure that everyone has the combination by thoroughly answering questions before dancing each exercise and emphasizing vocabulary by repeating not only each exercise many times, but also integrating several of her signature African and Limon style steps into several of the exercises! I’ll confess that my upper and lower back is very tender after this Camille Brown repetition ritual. This constant succession of steps helps the dancer get to the point of muscle memory so that the mind isn’t working on remembering the steps, but on adding the icing on the steps that makes them sparkle just like Camille Brown’s movement does.

It is really great to get to a point of effortlessness when studying with a “master” because this is the point when your body truly has begun to absorb the information (the vocabulary) and most importantly, the style. What we really want is for the teacher to transfer a bit of her spirit to us, and I truly believe this can only really happen if the student really understands the vocabulary so that he/she is open to accepting the gift of the teacher’s true artistry. This artistry is what made the teacher so great in the first place and, hence, rise to the place that they’ve risen. Isn’t this one of the main reasons us poor dancers dig deep in our pockets to pay the high master class rate? ($19 at Steps on Broadway!) The answer is, yes, and Camille Brown delivers 100%!

Her warm up begins with a heavy focus on port de bra and upper body contractions and undulations. Ms. Brown thoroughly warms up a dancers each and every vertebrae with her intense focus on torso. Once your torso is warm, elements of African and Limon start to creep in. At one point during the warm up, after having learned several dynamic warm up progressions (including ones that combine a hard hitting charleston and "the wop" with gentle contraction progressions), Camille splits the room in half and has us repeat different exercises back and forth. Not knowing which of the 8 bar combinations the following group would be asked to do next, everyone in class is forced to be alert to everything that is happening in the room. Camille is showing us here that being totally aware of the teacher and the other dancers in the room may be something that’s a bit foreign to a lot of dancers. It’s so easy to get caught in your own head by looking in the mirror at your body or thinking about something that happened before class that day, but Ms. Brown reiterates that you must be wholly present in class. As one half of the room is finishing up a phrase, Ms. Brown hints at what phrase she wants the other half of the classroom to do next by quickly doing the first step of the phrase 4 counts before we need to begin. Each time she demonstrates, the class' energy is rising. Her energy is so infectious as her eyes fill with fire with every word of advice, and her body shoots fire when she demonstrates. I cannot wait to see this fire onstage at The Joyce this week!

After the 1.5 hour warm up in the center, we move to the side of the room to do a few short progressions across the floor that are heavily rooted in African. Ms. Brown stops the class twice to pick on a young girl who obviously has potential, but is not giving the class her full focus. Ms. Brown sternly explains to the class that this student is doing the steps in the way that feel most comfortable on her body and not the way that is being taught. She reprimands her like a child saying, “You better start opening your ears because you can’t just go around doing the steps however you please.” This is the second time that this particular student has been singled out in class in a negative light, which highlights the fact that Ms. Brown will not stand someone walking away from her classroom with a misunderstood version of her teachings. This could have been a real life-changing moment for this singled out student! (I know that’s something I’d carry with me forever.)

Right before we exit class, Ms. Brown emphatically encourages everyone in class to join her Facebook page, get on her email list and most importantly, come to the show at The Joyce this coming week featuring her choreography along with Andrea Miller, Kate Weare, and Monica Bill Barnes. As everyone beat the ground in praise in time with her two drummers, I realize that Camille Brown’s drive to communicate with the world through dancing, teaching and choreography has built incredible momentum that is delivering her goods to a vast number of people. Most importantly, I see a genuineness of heart in her teachings and choreography, from which the people in her class and in her audience will reciprocate by readily absorbing her poignant messages with open arms.

iDANZ Critix Corner
Official Dance Review by Adrienne Jean Fisher
Masterclass Teacher: Camille Brown
Venue: Steps on Broadway
Class Date: August 6, 2010
www.iDANZ.com

A Note from the iDANZ staff: This piece got lost in the iDANZ internet abyss, and FINALLY has been discovered. Yay!!! iDANZ Staff truly apologizes for the delay in posting this wonderful piece and hopes it brings timeless inspiration and joy.

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Dance Review: Urban Roots Festival

noreply@blogger.com (iDANZ) — Tue, 09 Nov 2010 03:17:00 +0000

It's drizzling and I'm walking up to St. Mark's Church for the Urban Roots Festival where there is a healthy line outside of young urban hipsters, house heads, artists, poets, culture heads, and dancers at the ready to enter the space to score a coveted chair, bench, or at least a pillow on the floor like a pre-school game of musical chairs. With the house packed full, emcee NAIMA, of Climbing Poetree performs a hot poem that gets the crowd riled and ready to take in this evening's culture eclectic festival of young and enlightening artists.

For the opening piece, festival host, Kinetic Junglist Movement (KJM), performs a very intriguing work of movement invention enhanced by some creative costume designs as the dancers' human faces are masked and their bodies are covered from head to toe in shimmery insect-like bodysuits with thin finger extensions that appear like long needle-like appendages. Choreographed by Amy Secada, this piece details the metamorphosis of a Cicada, an insect known by it's clicking sounds and ability to molt, shedding it's shell. Combining yoga, capoeira, and some acrobatic movements, about 80% of this fifteen minute piece is done on the floor. No lazy dancers here, dancers roll, balance, and pause in deep squats, and at some points, burst up into the air in eclectic jumps with a sort of creepy yet ethereal undertone. So much demanding floor work, you would think the dancers have knees of steel! Although a bit lengthy and somewhat repetitive, the metamorphosis is absolutely captivating.

Purely a stand-out in the program is the multi-talented performer, Monstah Black, who really knows how to demand attention from an audience. He sings one of his songs, "Black Like Jesus," a fan favorite, fusing in his own very dynamic movement style as he covers the entire space solo with his quick turning leaps and soul slithering, black glama flair. One thing great about Monstah Black is that he truly is a seasoned, professional performer in that he has mastered the art of captivating an audience, knowing when to move fast and when to be still, when to scream and when to whisper. Bravo!

The pick-me-up of the evening goes to a performance by Princess Lockeroo and Akim Funk Buddha presenting an "Urban Opera" interpretation of the famous habanera from Carmen. Whacking, vogueing, and some locking and jazz dance fuse together to create a comical scene heightened by a dazzling chorus of "full-out" dancers.

Spinnin Ronin Martial Arts Dance Theater entertains with a comical story ballet complete with a menacing Samurai, flashy swords, and fight choreography worthy to be seen in the next Jet Li movie. In an awesome battle scene with the very tall Kei Yokoyama, watch out for their underdog, the petite heroine, Pai Wang, as she is a hot one with her Samurai sword in hand flowing through the very acrobatic fight choreography with fury and ease. Although lengthy for a one night multi-act filled festival, the performance successfully blends dance, martial arts, and choreographed fight moves with a delightful beginning, suspenseful climax, and an end. For a dance show, Spinnin Ronin, with its martial arts fused movement and exciting fight expertise, is a welcome addition to a mostly modern/jazz fusion dance festival.

Of course, we can't ignore the grand finale: the energetically uplifting and thoroughly entertaining Babacar M'Baye & Co. presenting a Sabar, (Senegalese dance and drumming style). Because of its innate spiritual nature, Babacar M'Baye's Sabar is a reminder to the audience of the folklore focus of the evening. A grand demonstration of skill and tradition, Babacar M'Baye proves to be a fantastic way to end an evening and of course, a great instigator to incite audience members to jump to their feet to dance the night away.

Overall the evening is very eclectic and full of various genres including an intergalactic geisha named Yozmit, who gradually strips on stage while singing to reveal levels of fake body parts... the private ones! There is no disclaimer or announcement to the audience so many are scrambling to cover the eyes of children. Also on the program is an inspiring poem and vocal performance from Micah Blacklight, a musical performance from Le Soul Afrique, and an Afro Brazilian dance performance from Ginga Da Bahia. However, in my search for the connection between the performance material and the festival's mission, to "breathe new life into ancient traditions" by showcasing artists who utilize the folkloric arts and fuse these forms with contemporary styles, the presentations come up short. There is folklore and there is fusion, but only some pieces accomplish the festival's mission. All in all, while I leave St. Mark's Church a bit unclear, the performances by these young performers possess promising skill and engaging entertainment. I am proud.

iDANZ Critix Corner
Official Dance Review by JoiLynn
Contributing Editor: Candice Rox
Performance: KJM Presents... Urban Roots Project
Venue: St. Mark's Church, New York City
Show Date: October 3, 2010
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Dance Review: “Coup de Foudre,” Baker, Van Peebles, and DJ Spooky at the Guggenheim Museum

noreply@blogger.com (iDANZ) — Mon, 08 Nov 2010 14:39:00 +0000

Coupe de Foudre, a theatrical reinterpretation of surrealist film maker Jean Cocteau's 1930 film "Blood of a Poet," gives a sudden intense feeling of love as the French title suggests as well as many other emotions as the audience remained in awe of this artistic collaboration of three generations of African American artists at the Guggenheim Museum. Corey Baker, Co-Artistic director of Ballet Noir and performer in Fela! on Broadway, performed as a dancer/actor physically interpreting the onscreen performance of characters in the film blending the present and past of art interpretation. Paul Miller, a.k.a DJ Spooky That Subliminal Kid, accompanied by Telos Ensemble, rescores the music creating an eerie, haunting, mystical mood to the stage, and Melvin Van Peebles filmmaker/director of “Sweetback” in the 1960's gives a dynamic performance adding dialogue as he interprets the French poetry of the film. It completely appeals to all the senses and takes the audience literally into a whirlwind of a theatrical experience.

The most exhilarating moments occur when Corey appears in the audience on the stairs one moment, as a shadow on screen the next, or a character crawling in space. Melvin's voice gives explanation to the black and white silent film as DJ Spooky takes the audience on a musical journey through time from the days of Josephine Baker to the new sounds of the twenty first century.

"I walk through my blindness the way I saunter down streets in Paris: unfiltered and alive: enchanted and enjoyed by the raw material of the senses. I am a blind flaneur. Come along with me. Just don't try to take my arm, unless I ask," Melvin recites as the film plays and Corey appears at the beginning of the show. The theater is a white sphere with intense lighting design by Scott Bolman focusing on the statuesque, brown muscular body of dancer Corey Baker in contrast to the white statue on film. There is a two-sided mirror, a wooden chair placed in front, a door with the number 17 stage left, and a black wall stage right. A story line begins with a young man, a poet, attempting to draw a series of faces. Suddenly, the mouth of one of these faces rubs off in his hand and starts smiling. Terrified, the poet accidently smears off the mouth of the statue he was working on previously. The statue comes to life and, in return, forcefully sends the young man through the mirror to another imaginary location at a mysterious hotel.

Corey Baker, as the poet, does a series of hand gestures looking into his hand, drawing on the mirror, running to the wall in sync with the actor on screen. A spinning head on the screen symbolizes unconsciousness and the entering of a dream world. Corey floats across the screen in a black silhouette as he falls out of reality. With gorgeous technique, he performs slow controlled spiraling turns, hinges, attitude turns and extensions with beautifully sculpted balletic arms, as if swimming, and climbing up a wall. He becomes each of the characters the poet encounters in a strange hotel: a little boy, a man in a painting, children in a scene throwing snowballs.

Melvin recites lessons of love, speaks of inner silence, deliverance, infinite precaution, and of nothing being premeditated in life. There are references to Homer and other Greek myths as each scene becomes more intense. The audience is stunned as a young boy is beat until he bleeds and the poet shoots himself in the head. Corey slips in an out of each character with ease with moments of still statuesque movement, then spinning, falling, running to a door, jumping off the stage into the audience in a state of despair and disillusion. At the climax of the film the poet commits suicide twice! The final time, after sitting in front of the woman he loves apprehensively with his heart beating out his chest, the gun appears, and, almost like a moment in animation, blood leaks from his temple; and there, stamped at his temple, is the Star of David.

This scene in the 1930’s would have been overdramatic or bizarre but with this theatrical version performed with Corey, Melvin, and DJ Spooky, Jean Cocteau’s film has much more depth. The poet dies and his lover becomes stone like the statue. A black angel comes to the scene reminiscent of the biblical angel Gabriel. In the audience, coming from a staircase is Corey descending from Heaven as the angel. The perfect lighting and ethereal sounds of DJ Spooky and the violinist set the mood for this theatrical ending.

In Jean Cocteau’s film, there are people walking through mirrors where they encounter the deepest psychological aspects of themselves. There are people walking upside down reciting poetry while they are painted into a canvas. The paintings come to life and the sculptures speak. Poetry becomes a film scene and a character's dialogue. In Blood of a Poet, one of the central themes is that inanimate objects possess mortal properties, and subsequently perform a play within a play, a film within a film.

In the post-performance conversation with the creators, we learn that Cocteau's compelling work also inspired the great Russian ballet-master, Sergei Diaghilev, to produce “Parade” with Pablo Picasso as designer. According to Paul D. Miller, a.k.a. DJ Spooky, Jean Cocteau has a fascination with the relationship between technology and theatricality which is what DJ Spooky explains as his inspiration for rescoring Blood of a Poet. Corey explains his approach to creating the choreography for this work as done more from an actor's perspective and less about choreographing beautiful dance. According to Corey, he reworks certain elements of the piece following the musical changes while paying close attention on being true to the character. He masterfully incorporates all elements of his dance background (modern, ballet, African, and hip hop) which gives the work a beautiful, honest feeling. Melvin describes the language of the 1930’s and the poetry in Jean Cocteau’s film. Translating French to English words wasn’t enough to get the audience to understand, it requires him also translating the slang or flapper language of that time as he calls it.

All in all, this is a stellar performance, and there are even talks of “Coup de Foudre” touring the nation. As we progress in technology and continue to mix art with the theatrical world, we will see other collaborations such as this one which will greatly be appreciated by those seeking entertainment that provokes strong emotions and sparks the intellect.

iDANZ Critix Corner
Official Dance Review by Carmen Carriker
Performance: "Coupe de Foudre" with D.J. Spooky and Ballet Noir
Venue: Guggenheim Museum
Show Date: October 10, 2010
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Dance Review: Ballet Preljocaj's "Empty Moves" at BAM

noreply@blogger.com (iDANZ) — Mon, 01 Nov 2010 15:25:00 +0000

“Why?” This is the continuous thought running through my head while watching Ballet Preljocaj perform Angelin Preljocaj’s Empty Moves (parts I & II) at BAM. The piece, choreographed to John Cage’s 1977 speech Empty Words, which was recorded in Milan before a vocal and rambunctious crowd, sets a standard for contemporary choreographers. Like abstract artwork, the 63-minute piece of arbitrary movement and Cage’s syllabic, unrecognizable pronunciation of words presents an enigma for the audience to decode.

The costumes, reminiscent of a disco roller rink party, expose the dancers’ liquid lines and dynamic quality of movement. However, I ask, “Why this choice of retro neon color shirts and shorts that would have been worn by Punky Brewster?”

The dancers effortlessly transfer from position to position, but reveal no emotion; their faces remain frozen. At one moment, the two girls toboggan over a man towards the audience and smile. Again, I ask, “Why? Why is that the only moment of expression?”

Randomly, the two men repeatedly stand on their heads, the women push their elbows in the men’s eyes and mouths, and in one moment the couples reach into their partners mouths. I wonder, “Why, what is Preljocaj’s intention?”

As I continue to watch Empty Moves, the answer to my question is that Preljocaj just feels like it, and, in the moment, the arbitrary step appears to be the perfect piece to fit the puzzle. Half way through the piece a dancer leaves the stage to get a drink of water and brings the Poland Spring bottle to other dancers on stage. At that moment, the dancers are thirsty and drinking water is a necessary part of the choreography. Like the simple black dress hanging in the closest, sometimes the least complicated and least contrived things are the most beautiful.

For a dancer, the process of learning and performing a piece with such arbitration presents a huge challenge. As a dancer you rely on the music to rescue you from the “oh crap” moments that occur when the choreography slips away from the body; however, the four dancers Favrizio Clemente, Gaelle Chappaz, Julien Thibault, and Yurie Tsugawa, impress with their flawless performance. They dance with a connective energy that mesmerizes the eyes for the entire 63 minutes. Even though subdued and unremarkable, the choreography perplexes the conception of entertainment and disproves the idea that the flashy choreography seen on So You Think You Can Dance is the future of performance art.

In a poignant moment, the four dancers interlock themselves lying in a straight line across the stage. Who knew that something as simple as this would be as impressive as the Texas Rangers beating the Yankees to play in the World Series?

Anglein Preljocaj and his company are the epitome of innovation and hopefully will inspire more artists to trust their instincts and escape conformity like Preljocaj has done in Empty Moves (parts I & II).

iDANZ Critix Corner
Official Dance Review by Katherine Gibson
Performance: Ballet Preljocaj
Venue: BAM, Brooklyn, NY
Show Date: Friday, October 29, 2010
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Dance Review: Ralph Lemon at BAM

noreply@blogger.com (iDANZ) — Mon, 25 Oct 2010 17:40:00 +0000

After a six year hiatus, Ralph Lemon and his dancers return to the stage Wednesday night in Brooklyn's own BAM Harvey Theater. The theater is packed and guests buzz words of praise about their expectations for this performance. Some, knowing of Lemon's longer shows, ask about length expectations as well. As I sit, I too am worried of becoming restless, but the performance, although a bit long, is loaded with information and provocative images which inspire intellectual thoughts and dialogue about life and the hereafter.

The show begins with Lemon himself reading a memoir of his experiences during the creation of this project entitled “ How Can You Stay in the House All Day and Not Go Anywhere?”.

Mr. Lemon normally keeps his private life hidden but this time he openly talks about his artistic relationship with Walter Calter, a former sharecropper born in 1908 who he meets in the Mississippi Delta while researching his 2004 work. He also talks about mourning the death of his companion dancer, Asako Takami. Mr. Lemon sees “House” as a four part project (I.Sunshine Room, II. Wall/Hole., III. No Room, IV. Meditation) inspired by his experiences and by Andrei Tarkovsky’s 1972 science fiction film “Solaris,” with its underlying theme of death. In the film clips, a psychologist ends up on a spaceship with his wife, who commits suicide.

During the film Mr. Lemon narrates as we also watch clips of Mr. Calter in a bunny suit in Mississippi encountering violence reminiscent of the racial tension of the 1960’s. These images are also inspired by Hare and Rabbit tales published in The Gift by Lewis Hyde where Sakka, the ruler of the heaven of sensual pleasure tests the hare by disguising himself. At the end of the film we see video clips of dancers onstage doing improv. The movements and music are inspired by the free spirit, drug, sex, and rock and roll days of the 70’s. A particular clip of his earlier work shows a dancer continuing to dance on stage after being hosed down with water. This made a strong statement about the perseverance of African Americans during the Civil Rights Movement.

Six dancers come out and the familiar movements seen on screen are repeated live. There is a moving moment where the stage is bare except for the sound of a dancer sobbing off stage. Though strong, this is a bit disturbing and some people feel it is too much to endure and leave, but the majority who stay experience a performance that completely takes us inside the mind and heart of Ralph Lemon. I commend the dancers for their tirelessness and amazing commitment to movement that is very physical requiring them to spin, fall, and run for a long span of time nonstop!

At the closing of the final section, Lemon returns to the stage in the bunny suit amongst a screen of animals that appear one by one. This moment symbolizes the place we have in this world, the relationship we have with all of mankind, and our search to understand the unknown.

This project is a work-in-progress and will continue with part IV Meditation, an installation on view at the The Kitchen this month.

iDANZ Critix Corner
Official Dance Review by Carmen Carriker
Performance: Ralph Lemon, "How Can You Stay in the House All Day and Not Go Anywhere?"
Venue: BAM Harvey Theater, Brooklyn, New York
Show Date: October 13, 2010
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Dance Review: Swift Solos at DTW, olive Dance Theatre

noreply@blogger.com (iDANZ) — Tue, 19 Oct 2010 15:50:00 +0000

As I walk in New York City's DTW to see olive Dance Theatre's Ken Swift Solos, I'm handed fortune cookies and wonder why, but, as I open one, I see the fortunes say, "Why do you break?" and "What inspires you?" ...Hmmmm.

The show opens with video footage of hip hop dance dignitary Ken Swift, of course, and each dancer is posed on a wooden panel, which the dancers manipulate throughout the show, creating interesting and clever scenery and scenarios. What an excellent usage of props, as I almost forget that the only thing on the stage is the dancers and the panels...

The show progresses into the dancers explaining to the audience how it felt when they first saw Ken Swift dance. At this time, a very interesting part of the show emerges as the dancers view footage of Swift along with the audience, and then stop the tape to execute signature moves or steps that Swift originated. There are very informative parts of the show that I appreciated as it isn't a show that "pimps" the art of break dancing as most mainstream and many other shows do. It's way more than that... It's an exceptional, comprehensive work that isn't necessarily about the obvious tricks that anyone can identify, but about the art of break dancing and its many components.

At one point, it is stated "to be a good b-boy or b-girl, you gotta have footwork." I want to yell out "THANK YOU!" because there are so many intricacies and nuances to break that so often, unfortunately, these skills get overlooked for power moves. The dancers swivel, roll, dove, spun, and sort of tease the audience because they obviously are powerhouses. Their individual personalities and passions are also interwoven into the show as they explain to the audience what inspires them to break.

Ken Swift Solos represents not only a show honoring a legend but, one that informs about and honors an art form.

Photography by Yi-Chun Wu

iDANZ Critix Corner
Official Dance Review by JoiLynn
Performance: olive Dance Theatre
Venue: Hip Hop Theater Festival @Dance Theatre Workshop
Show Date: Saturday, October 2, 2010
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Dance Review: Keigwin and Juilliard Dancers Take City Center in Fall for Dance

noreply@blogger.com (iDANZ) — Mon, 18 Oct 2010 19:14:00 +0000

In my personal experience when people hear that anyone is a dancer they often say, "You must tear it up at the club." Sometimes this yields an awkward laugh because professional dance is sooo serious. Select members of Keigwin and Company with Juilliard Dance could easily answer "yes" at Fall For Dance at City Center. Their work Megalopolis was shown during NY's Fashion Night Out and could easily make any high fashion model jealous of their struts. It proves that professional dance can be beyond fun and sexy while maintaining all technical components. Dancers donning unitards that would make Lady Gaga jealous grace the stage in stunning spatial patterns to a score by Steve Reigh and M.I.A. The duality of classical music mixed with club beats provides a proverbial playground for dance that is seductive, athletic, sensual - and nothing these dancers can't handle! One movement that plays out over and over again is a parallel chug across the floor with arms so buoyant they look like slinkies. The dancers master the piece with strength and subtlety. This hammers their ability to be far more than a one-trick pony. The fluidity continues as the dancers circle their forearms overhead like Gwen Stefani in her Wind It Up video. Back-up dancers can be heard crying around the world!

Brother and sister team, Angel and Carmen Corella, change the tempo with their Flamenco inspired ballet duet. They stun the audience with a precise and compelling exploration of ballet. Joyous sibling rivalry plays a huge role in this performance, and its tough to tell who would be the winner if the audience is keeping score! Between Angel's stunning fouette turns and Carmen's untouchable grace that extends through her fingertips, their parents are undoubtedly still beaming. From a club atmosphere to an "impulsive wedding dance-off," they ignite the audience's excitement immediately. The audience cheers and roars with laughter as Angel completes a round of tour jetes complete with a shit eating grin.

Bringing an understated and spectacular dénouement to the uproarious audience is British choreographer Russell Maliphant. His US premiere of Afterlight Part 1 begins with legato turns in a pool of light. Movement this slow demands highly specific artistry, and Maliphant wields his in abundance. After two minutes of progressively quicker and quicker turns, he has the audience in the palm of his hand. As he removes his skully, Maliphant moves beyond that small pool of light almost appearing to float. The effortless and seemingly uncountable turns on both his knees, feet and hands brings immense pride to the term whirling dervish. Sometimes dance has the ability to shed light on the miracle that bodies can be, and Maliphant lives this miracle. Catch him as soon as you can to witness his phenomena firsthand!

Fall for Dance provides affordable entrance to prestigious works that run the dance gamut - and well! Do yourself a favor and don't miss it!

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance: Fall for Dance
Company: Keigwin and Company with Juilliard Dance
Venue: City Center
Show Date: October 6, 2010
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Dance Review: Swan Lake Soars To New Heights, Matthew Bourne

noreply@blogger.com (iDANZ) — Mon, 18 Oct 2010 17:03:00 +0000

In a triumphant return to the New York stage and Broadway, Matthew Bourne’s Swan Lake is a feast for the senses that sends you into the sky!

Mr. Bourne has introduced the great tale of Swan Lake in an innovative, inspiring, and entertaining new way. No longer the stuffy and reserved version, Bourne's production is refreshingly hilarious. With tongue and cheek jabs at classical ballet, it feels strangely okay. You almost feel as if you are watching a great John Waters film (Hairspray, Cry Baby, or Serial Mom). Excellently balanced with his comedic side, Bourne's choreography for Swan Lake is a brilliantly creative, demanding piece of work, a wicked challenge every dancer on that stage grab holds with committed fervor. The dancers are extremely talented and strong, and don’t lack in technique in the least bit. They are completely comfortable and capable in all the roles, which makes the tongue and cheek aspect so believable.

The lead characters, Dominic North (The Prince) and Richard Winsor (The Swan/ Stranger), are mind-blowing. With their beautiful and fluid technique, these men give a commanding performance and convincing display in the portrayal of their characters. They would definitely get my Oscar for best actor of the year. Equally amazing in their roles are Madelaine Brennan (The Girlfriend), completely hysterical, she would be a perfect match for Nathan Lane in a New Broadway Show, and Nina Goldman (The Queen) who is regal and beautiful! However, once the Swan’s make their appearance, all bets are off and sign-me up to join the flock!!!! The Swans are all amazing and believable. They lift the roof off of City Center, with the flapping of their wings, and soar right out of the theater!

This production is equally visually stunning; with costumes and set by Lez Brotherston, you immediately fill as if you have just walked into Dylan’s Candy Bar and can’t wait to dive in and try all the flavors. An utter feast for the eyes, I am already hard at work trying to sample every morsel watching the ballet unfold. Of course the score by Pyotr llyich Tchaikovsky is beautiful and does not disappoint. It compliments Bourne's version surprisingly perfect, like a great bottle of wine at your favorite Italian restaurant. You very quickly forget you are listening to one of classical music’s most beloved ballets and it sounds so current!

Overall, Matthew Bourne’s Swan Lake is a complete revelation. It is a great introduction to the dance world for anyone who would like to take a peak. Absolutely better than a movie on a Friday night, head over to City Center and see live performance, dance, and theater at a level that is simply brilliant.

Photography by Bill Cooper

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance: Matthew Bourne's Swan Lake
Venue: City Center, New York City
Show Date: October 15, 2010, 8pm
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Dance Review: Energetic Youth and Mature Finesse Mastered, Kazuko Hirabayashi Dance Theater

noreply@blogger.com (iDANZ) — Sun, 17 Oct 2010 16:15:00 +0000

Kazuko Hirabayashi Dance Theater shows off their amazing ability with youthful and athletic energy, grace and maturity rarely seen. With a diverse program mixing the youth with dance greats like Sarah Stackhouse (Jose Limon Dance Company), what a triumph!

Opening the program, No, No…Yes, Yes… (New York Premier), this piece is a feast for the senses. Energetically athletic and disturbingly perfect, this dance shows off their masterful technique and ability. They enter and exit the stage as if they are “The Secretariat” attempting to achieve the Triple Crown. Well, I would have to say, break out the history books and take note... It's a success!

In A Pebble In The Field, a commentary piece about the senselessness of war with music by Simon & Garfunkel and Jimi Hendrix, Jose Limon Dance Company member and Purchase alumni, Kathryn Alter, is simply delicious. Showing off her ability to convey a story, I’m ready for popcorn, a soda, and skip the previews, on to the main feature. Watching here, I am embraced in a nice warm blanket! Boy, do I like this feeling. I am totally engrossed in this epic performance.

Next on the bill, is Chrysanthemum And The Sword. A a rollercoaster of excitement, this piece explores Japanese actor, playwright, and poet, Yukio Mishima, who is most remembered for his ritual suicide after taking over Tokyo's military headquarters in order to restore his nation's prewar imperial glory. With an equally exciting score by Philip Glass, this is a true revelation. Intense, heart wrenching, EMOTIONAL, a runaway train of beauty and precision... I want more! Dressed in beautiful costumes by Elena Comendador, the dancers are fine-tuned, like a baby grand piano, all in perfect pitch. Leading this performance is Daniel Madoff (courtesy of the Merce Cunningham Dance Company) who performs like a meticulous craftsman wielding a Samurai sword with impeccable musicality. Bravo!

Saving the best for last, a real dance legend takes the stage. In Haiku, Sarah Stackhouse (Jose Limon Dance Company) is an absolute vision. Her mature, tender, and gentle approach is what all dancers should strive to achieve. Like watching clouds on a perfectly warm summer day lying on a beach with a warm ocean breeze gently engulfing you, her performance quality makes you forget all worries of the world. ...Oh why can’t all days be this beautiful?

Overall, Kazuko Hirabayashi Dance Theater shows off their maturity and precision with welcomed detail and seasoned grace. I leave this performance as if I have just seen the most amazing movie of all time. With mature and youthful characters in all the leading roles, KHDT most definitely sweeps my Academy Awards!!!!

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance: Kazuko Hirabayashi Dance Theater
Venue: Ailey Citigroup Theater, NYC
Show Date: October 10, 2010, 3pm
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Dance Review: First Annual PCDC Festival hits MMAC

noreply@blogger.com (iDANZ) — Wed, 13 Oct 2010 14:39:00 +0000

Sometimes it takes years to build community - especially if you're a newbie. Perceptions Contemporary Dance Company built one in just a year in NY - culminating with the 1st Annual PCDC Festival at the Manhattan Movement and Arts Center on September 18th. Ten emerging and established choreographers show works new and old to a lively audience. Pieces run the gamut from clean and crystallized to murky and overly melancholy. All pieces possess promise, but standouts emerge with ease.

Jeremy McQueen shines in a pas de duex he dances and choreographs alongside lush Alexis Covento. Offering a loose interpretation of the balcony scene in Romeo and Juliet, they demonstrate the binds love often brings by intertwining their wrists in thick rope. These binds cannot conceal their artistry as the two move with extreme fluidity throughout the piece. A warm spotlight illuminates their body of work - extremities that can make anyone jealous. Their ability to create substantial, heavy movement - running parallel to the emotional content of the piece - followed by light, airy accents acknowledges McQueen's lens as an artist and skills as a performer. In Covento, he chooses a true counterpart. She embodies the vulnerability of a true Juliet while also showing the strength of someone in deep desperation. Watch out for McQueen - you won't be sorry!

Perhaps paying homage to their own post college beginning's, PCDC selects LeeRoc Dance Project - in good taste! The collective work of recent UMass Amherst graduates, Andria LaRocco and Beth Liebowizt, reflects a mature choreographic voice in "De ja vu (I Think I've Been Here Before)." Dancers are joined by live piano accompaniment that proves their true partnership with both music and movement. As the largest piece in the festival, LeeRoc pushes the envelope with layered phrasing, remarkable synchronicity and astute action. Between the music and mesmerizing movement, LeeRoc brings the audience into their world with fierce fluidity. LeeRoc shows that a college dance degree is a piece of paper worth having!

PCDC ends the festival and deservedly so. Their newest take on "Ancient Bruises" features Artistic Director, Melissa Gendreau, as lead soloist. Her athleticism is nuanced with soft hands and ethereal phrasing. On top of organizing the entire festival, she organizes her entire body in a way that brings awe to the audience. The specificity of her movement speaks to the specificity she has as a director, choreographer and true movement artist. PCDC dancers also travel the delicate line of athleticism vs. nuance - making sure to land in the middle. Haunting music provides a soundscape worthy of the movement I mull over in my head for days. Musical selections include "Sea Lion Woman" - Christine & Katherine Shipp, "She Began to Lie" - Greg Hale Jones, and "Field Below" - Regina Spektor.

Other performers include Anahata Dance Company, JKDance - Jaclyn K Walsh, Jennifer Buzzotta & Nicole Sao Pedro, Lauren Withharte, LeeRoc Dance Project, Sarah Sadie Newett, Trio Dance Collective and Vanessa Rea. Gendreau states, "The first Perceptions Dance Festival was a huge success, and we owe it to the amazing participants, volunteers, and supporters. I am thrilled to have been able to provide this opportunity to artists around the country, similar to those opportunities that helped my artistic growth. I hope to continue this tradition for years to come, and with the support of the community the Perceptions Dance Festival can grow to become a staple to artists around the country and beyond." Sounds like a done deal to me! Stay on the lookout out for PCDC performances - you won't want to miss them!

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance: 1st Annual PCDC Dance Festival
Compay: PCDC and Guests
Venue: Manhattan Movement and Arts Center
Show Date: September 18, 2010
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Dance Review: Eva Dean's UBA Bounce at Dixon Place

noreply@blogger.com (iDANZ) — Thu, 19 Aug 2010 18:39:00 +0000

For years artists have bravely performed with the ballistics of balls and have awed audiences. Jugglers, rhythmic gymnasts, and street performers entertain with the suspense of dropping the ball. Welcome UBA bounce to this group of performers! UBA Bounce’s performance, however, is like watching the 3D movie version of the other performances- more eye popping color, speedy unexpected acrobatic feats and of course, chaotic challenges of controlling unpredictable balls. UBA bounce dancers interact with the balls as if they are fellow dancers. Each ball is personified and possesses its own quality and quirks. Yes, Eva Dean’s UBA Bounce is an innovative and ingenious idea- she is absolutely breaking boundaries with balls.

Appropriate for the lazy, sweaty days of summer, the balls do not bounce during the performance, but rather roll and relax like they are vacationing in the Hamptons away from the bustling bounce of the city. A variety of balls appear amongst five dancers in ten works choreographed by Eva Dean and you question who controls the movement: the ball or the dancer?

Of my favorite pieces, Pearl showcases the sophisticated skill of Dean’s choreography. Dean and Zoe Schieber dance with two other pearl balls that adopt the persona of Charlotte’s “Sex and the City” Park Ave personality. The fluidity and harmonized movement created the allusion of synchronized swimming.

Continuing with the water theme, Bounce Surfing channels the audience to an aquarium in three parts. In “Wave,” George Hirsh and his counterpart, a blue buoyant ball, bring the audience into waves with watery, continuous flux. While in “Dolphin” the ensemble cast mimics the playful, fluent movement of dolphins. Like the spectacular at Sea World, dancers flip and balance balls with the agility and grace of dolphins that are always awarded with a huge splash of applause. The final section, “Surfing,” brought me immediately to the tobogganing penguin exhibit. The slippery silver balls propel the dancers across the stage and back demonstrating the dancers’ teamwork throughout a piece of slipping and sliding fun.

In Bounce 09, UBA acts as the main character of the work as a big, bright orange ball. A kaleidoscope meteor shower of color from supporting actor balls bring the dancers into a Wonka Land experience where bubbles and carefree play transform the stage into a playground.

The final piece, Samba Poi, utilizes twirling, psychedelic neon light poi balls that immediately transport the audience into the Latin flavor nightlife of Miami Beach. The sexy samba dance along with the glowing lights is like watching a tropical festivity along the palm tree lined Ocean Drive.

Throughout the performance I marvel at the dancer’s strength, control, and especially their balance. Ms. Shieber seems to never touch the ground, constantly balancing and walking on the ball like a tight ropewalker. The dancers’ work with the ball is like a full fitness regime in itself! If anyone has exercised using a physio ball, you know it is a killer ab workout!! The abs of the UBA Dancers definitely give Jessica Biel’s Hollywood washboard abs some serious competition.

Join UBA Bounce in a spectacular show where dancers and balls impress and excite your expectations and imaginations.

UBA Bounce continues to perform at Dixon Place on:
THUR 19 @ 7:30 pm
THUR 26 @ 2:00 pm
FRI 27 @ 5:30 pm
SAT 28 @ NOON

Photography by Yi-Chun Wu

iDANZ Critix Corner
Official Dance Review by Katie Gibson
Performance: Eva Dean's UBA Bounce
Choreographer: Eva Dean
Venue: Dixon Place
Show Date: Sunday, August 15, 2010

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Dance Review: Kate Weare and Monica Bill Barnes at The Joyce Theater

noreply@blogger.com (iDANZ) — Thu, 12 Aug 2010 11:39:00 +0000

I will be keeping an eye on two refreshing new choreographers debuting at The Joyce this week.

From August 9th through the 14th, Kate Weare and Monica Bill Barnes share a marquee with Camille A. Brown and Andrea Miller. The latter two are both mentioned in Dance Magazine's "25 To Watch" list, and while I love watching both sets of choreographers gain ground, I only have tickets to see Kate Weare and Monica Bill Barnes. Nothing thrills me quite so much as witnessing fantastic talent emerge, and the two companies could not have been better matched.

Kate Weare Company premieres Bright Land, a series of dances set to the live music of San Francisco-based folk band The Crooked Jades. Seeing live musicians on stage as the curtain rose is enough to make me cheer, but, given that I am at The Joyce and (supposedly) am sophisticated, I restrain myself. (If there had been a gut bucket, things might have turned out differently.) The dancers enter after the first number, dancing in silence for the first few minutes, punching elaborate rhythms with their breath and their bodies. Weare's artistry is genius in its simplicity: the dancers create, and are ultimately swept up in, the cultural "rhythms" of life that folk music encompasses. Throughout the piece, layers are literally stripped away as her talented ensemble tackle judgment, envy, love and death. Kudos to dancers Adrian Clark and Douglas Gillespie for what surely is the most bruise-inducing series of choreographed push-ups ever crafted. The overall effect is amazing. Regardless of your appetite for folk music, however, you can't help but think, "Kate Weare is one fierce choreographer."

Smart, witty Monica Bill Barnes, on the other hand, engages her audience on an entirely different level. No one goes to a dance concert for the comedy. But I haven't laughed this much at a dance performance since I watched Tandi Dupree drop from the ceiling into a split on You Tube. (Google it, people.) But while Miss Dupree induces shock mixed with hilarity, MBB's dancers mix awkwardness with a painstaking desire to please. Four skinny white girls walk onto the stage in frumpy turtlenecks and woolen school girl skirts and dance to James Brown. Obviously, this is a prescription for comedy. They know that you, the audience, are watching. In fact, they're trying desperately to entertain you. In this recently reworked piece, Another Parade, Barnes lampoons the relationship between the audience and the performer. The girls shimmy and shake, mugging and bopping through Bach and Bacharach alike. At times dark, at times heartbreaking, and at all times unexpected, Another Parade is a smart, inventive evening of dance.

Check out Kate Weare and Monica Bill Barnes this week at The Joyce Theater. These two companies are not to be missed!

iDANZ Critix Corner
Official Dance Review by Molly Sorohan
Show: Kate Weare Company and Monica Bill Barnes
Venue: The Joyce Theater
Show Date: Tuesday, August 10, 2010
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Dance Review: Pilobolus Perfect at The Joyce Theater

noreply@blogger.com (iDANZ) — Mon, 26 Jul 2010 15:46:00 +0000

Pilobolus has absolutely perfected performance art! After thirty-nine years, Pilobolus still brings innovation that challenges their artists and thrills audiences, which I got to experience first hand this past Monday evening at The Joyce Theater in New York City. This evening, Pilobolus adds to their superior athletic and dynamic reputation by flaunting their fluidity and grace on top of their ability to tell a story.

The opening piece, Lantera Magica, takes the audience to a fantasyland of enchanted creatures. Appealing to the family audience, fireflies drift your imagination into a mythical land. The colorful costumes and brilliant lighting perfectly complement the graceful dancers, which moves the audience into a tale of fairy like creatures and discovery.

Pseudopodia, a male solo choreographed to pounding drums, diverts the focus away from the show's theatrics and toward some gravity-defying technique! This is an amazingly dynamic juxtaposition of music and movement. The hard, pounding drum is paired with the fluid, flame-like movement of Jun Kuribayashi. His gasp-inducing solo begins as Jun Kuribayashi somersaults on stage like a fireball, his body rolling like a continuous flame. Not once does the audience hear his body touch the stage. He flows with effortlessness, while commanding the stage with complete control. Bravo!

The first act ends with the much anticipated Contradance, a new work that's a collaboration with Grammy winner Dan Zanes. Contradance continues with the family and story telling theme of the evening by showcasing the ensemble's subtle strengths and talents to portray sweet characters, who convey a moral story. (Yes, dancers, you better act!) Even though this piece isn't a momentous, gravity defying piece that is often associated with Pilobolus’s reputation, I appreciate the softness and sweetness of the characters and the company’s embrace of magical stories that really appeal to a younger audience.

The evening is arranged much like a double feature at the movies. The first act is a G rated movie for families while the second more is a sophisticated highlight of the extreme strength and power of the company. Upon entering the stage in the fourth number, Gnomen, four intertwined men roll onto stage, demonstrating a huge feat of weight and balance. The men showcase extreme endurance, but execute it with much sensitivity. Arial lifts and arm balances make the audience gasp in awe, but more impressive is the emotional execution of the movement. Choreographed by Artistic Directors Robby Barnett and Jonathan Wolken as a dedication to fellow dancer James Blanc, I also sense that the dancers pay tribute to Wolken, who passed in the spring. The somber and inward mood of the piece creates a division between the performers and audience. As a viewer, you observe the pain of loss and devotion to relationships, but also admire the beauty of graceful physicality and emotional strength.

Megawatt, the finale performance, demonstrates strength and physicality, but in the most raw and abandoned manner. It is truly an underground piece choreographed to the music of Primus, Radiohead and Squarepusher. The dancers enter head first in upside-down army crawls (like my new dance term?), which sets the tone of organized chaos. Creating a full spectacle for the senses, Wolken's killer choreography directly mimics the music. The audience sees, hears, and feels melody and tempo through a non-stop exhilarating display of high energy and seemingly impossible tricks. Although constantly impressed by the insane acrobatic stunts of all the members, I am most thrilled by Eriko Jimbo. One of the smaller members, she moves with fearless abandon and well matches the physicality of the "Lebron James size" men. Work Eriko! Megawatt leaves the audience rocking out in there seats.

Pilobolus is performing at The Joyce Theater until August 7th and provides a show that will entertain all ages and artistic preferences. Go see it!

Photography by Sara D. Davis

iDANZ Critix Corner
Official Dance Review by Katherine Gibson
Performance: Pilobolus
Venue: The Joyce Theater, NYC
Show Date: July 19, 2010
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Dance Review: DecadanceTheater Takes Hip Hop Dance Soaring to Heights as High as the Empire State Building

noreply@blogger.com (iDANZ) — Tue, 20 Jul 2010 16:12:00 +0000

Waking into Joyce SoHo for the performance of Deacadance Theater, I am immediately massaged by the sounds of Hip-Hop beats. Creating the vibe on the ones and twos is DJ Henry C, spinning the joints that hype everyone to get crunk. Finally the house lights dim and the crowd erupts into thunderous applause, and we are ready.

The first piece on the bill, choreographed by Jennifer Weber, The Cage (inspired by Jerome Robbins), takes hip hop dance soaring to heights as high as the Empire State building! Brilliantly danced by the ladies of Decadance crew (Ann-Sylvia Clark, Lucile Graciano, Nadia Lumley, & Taeko Koli), these X chromosomes take complete control of the stage like a well-oiled machine. Their movements are fluid and smooth, a hot knife through butter, and I am ready to be SLICED! I watch with awe in suspense as they move from slow to fast with ease like waiting for a YouTube video to buffer and load. Once they get going... oh how satisfying it is! These b-girls are highly athletic and strong, flipping through the air and spinning on their heads as if they are Olympic gymnasts. I score them a 10!

The next piece, The City Breathing, also choreographed by Weber, is an imaginative triumph. The dancers are on stage dancing in jogging suits, the lights go out, and then, out of nowhere, their costumes light up! Immediately, at first I think,... hmmm... "Walt Disney World's Main Street Electrical Parade." However, delightfully it turns out to be a piece I only WISH they'd march through Walt Disney World! They seem to disappear and reappear out of nowhere, floating through space. These dancers are amazing doing steps you would only see men doing and at a speed that would make anyone shout, "WORK!" Overall, another perfect score 10.

The next and final piece on the bill is a total slam-dunk: the world premier, When The Sky Breaks. For Weber, this is the most ingenious and ambitious piece on the bill that even I would want to get up and join. All I have to say is “Step-Up 3D”... That’s right, folks, put on your 3D glasses and pop some popcorn. With an integrated 3D video created by multimedia artist, Holly Daggers, you feel like you actually are in the middle of the dance. Weber incorporates a little house dancing, more awe inspiring moves, and the most intricate, isolated, fast-hand choreography I have ever seen. Weber almost seems to take a page out of The Matrix and Madonna’s Vogue video. So, I guess you can call this a little Vogue Matrix 2010... The Decadance dancers are athletic, musical, and beautiful, and I am very pleased with the final product. Once again I’ll give them a score of 10!

Wow! Just like the Olympics, 3 perfect 10’s.... And the gold medal goes to... DECADANCE THEATER! All the evening’s pieces are masterfully directed and choreographed by Jennifer Weber. Watch out “So You Think You Can Dance” Decadance is HERE. A must see!

iDANZ Critix Corner
Official Dance Review by Devin Pullins
Performance: Decadance Theater
Choreographer: Jennifer Weber
Venue: Joyce SoHo
Show Date: July 17, 2010
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Dance Review: Broadway Underground Knows How To Get Down

noreply@blogger.com (iDANZ) — Sat, 17 Jul 2010 11:51:00 +0000

Broadway Underground brings down the house on Monday night at BB Kings in Times Square. This show is full of non-stop raw talent, amazing live music, and lots of complimentary comedy that keeps the show rolling with laughter and fun.

Produced by Jared Grimes and Cheryl Cutlip, the performance displays the work of a fresh scoop of young, talented performers in the industry performing innovative works of their own or by other talented artists. What makes Broadway Underground such a stand-out production is that they really get to the heart of entertainment (rather than just skimming the surface-like most shows of this kind). Hell, they even have their own band keeping the beat throughout the show and hypnotizing you with a theme song that you leave the theater singing at least for the next two hours.

The show opens with a hot hip-hop and tap fusion choreographed by Jared Grimes. This high-energy piece set to the deconstructed car sounds of Wade Robson’s I Question Mark is full of tight technique, syncopated rhythms, and an unforgettable tap solo. But this is just one of Grimes' three pieces for the evening. In Ladies Throwdown, performed by the wonderfully versatile dancers of Tadah, these women really go hard in this sick tap number that displays their precision in sound, timing, and technical prowess. Grimes and Tadah are definitely a talent to watch out for.

Next up we meet Jay Stanton in his performance of Ray Mercer’s The Music In My Head. Given the size of the stage and length of Stanton’s legs, I must admit that I was a little nervous about the ambition of the piece at first. However, Stanton moves with a liquid musicality, seamlessly balancing Mercer’s contemporary and funk styles.

Juson Williams and company grace the stage in both the first and second half of the evening singing their soulfully witty rendition of classics For the Love of You and Lonely Avenue. Expect the unexpected with Williams. The level of his artistry allows him to take risks and use improvisation in a way that leaves you thinking one thought…WORK!

Speaking of musical artistry, William Johnson and the Drumatics blow up the stage at the end of the first half with a set of rhythms that make you want to get on your feet. This unbelievable all-male band dominates the trumpets, saxophone, djembe drums, and even paint buckets. That’s right William Johnson was drumming on paint buckets. Now that’s talent!

Now, my favorite and closing act of the evening is the BU Session, an open stage portion of the evening where artists in the audience are welcomed onstage to freestyle whatever talent they wish to share. What is most inspirational about this moment is seeing the diversity of races, generations, gender, and talent showcased. There are even kids up there holdin’ it down right next to their teachers and mentors. The session ends with two lengthy yet mind-blowing tap solos by Jared Grimes and Dewitt. This pair, who also are the hosts of the show, delightfully serve as comic relief throughout the evening, and, putting all jokes aside, successfully leave the audience with a lasting impression of what "Broadway Underground" is really all about.

I’m not sure about when we will see this group again, but what I do know is that they will have a sold out house leaving you fully satisfied, and, I will make sure that I’m there again! Broadway Underground: revolutionizing the definition of entertainment in New York City. Go see them!

iDANZ Critix Corner
Official Dance Review by Simone Sobers
Performance: Broadway Underground
Choreography: Jared Grimes, Ray Mercer, Juson Williams,Tadah, William Johnson and the Drumatics, Dewitt, BU Band, Adam Shenk, Reggie
Venue: B. B. Kings
Show Date: Monday, July 5, 2010

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Feature: Listen to Savion Glover Talk to iDANZ in a Fascinating In-depth Interview

noreply@blogger.com (iDANZ) — Sun, 04 Jul 2010 01:03:00 +0000

"Keep SLYDE Alive!
. . . with a Y."

Performance: Savion Glover's "Sole Power"
Venue: Joyce Theater, www.Joyce.org
Run: June 21 - July 10, 2010

Listen to Interview NOW.....

Definitely an inspiration to all young tappers and future Broadway dancers... Savion Glover takes the theater world by storm with youthful zeal as a 12 year old prodigy performing in his first Broadway show, The Tap Dance Kid. By 15 years old, Savion performs in Black & Blue, in which he is nominated for a Tony, and by 18 years of age, Savion stars in Jelly's Last Jam. By age 23, Savion solidifies his place as the "Son of Sound" (coined by our very own iDANZ Critic, Martine Quigley) by starring and choreographing his own Broadway show, "Bring in da Noise, Bring in da Funk," co-directed by George C. Wolf, which Savion wins the Tony for best choreography. Savion continues to perform as a featured guest artist, in addition to performing his choreography in his own full-length productions showcasing his artistry to audiences worldwide.

On Monday night, June 28, I had a chance to interview Savion Glover in his dressing room at The Joyce Theater immediately following the performance of Sole Power, an intergalactic show that pays homage to the greats such as Jimmy Slyde and Gregory Hines and showcases the versatile feet of the great contemporaries such as Mr. Glover and Marshall Davis Jr. In this interview, Savion expresses the importance of always being a student of life and developing relationships with "old people" in order to gain wisdom and constantly grow as an artist... His message, "Keep Slyde Alive!" Moreover, Savion talks about his "dark period", after which, he felt like a new man whose reasons for performing changed dramatically.

On a lighter note, Savion talks about the tap shoes he's been wearing for years and also talks about the process leading into the famous Tony Award Winning show Bring in Da' Noise, Bring in Da' Funk.

Enjoy this fascinating peek into the life of Mr. Glover! -Adrienne Jean "AJ" Fisher, iDANZ Critix Corner

Check out Savion Glover's Sole Power at The Joyce Theater June 21 through July 10. For more information, visit www.Joyce.org.

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Dance Review: Son of Sound - SAVION GLOVER HAD ME AT HELLO

noreply@blogger.com (iDANZ) — Sat, 03 Jul 2010 18:51:00 +0000

With a clever mind, his heart on his sleeve and a pair of supernatural feet, Savion Glover, the artist, unleashes mind-boggling rhythms in his current production, “Sole Power” at Manhattan’s mecca for exemplary dance, The Joyce Theatre. In the footsteps of tap legends, Savion Glover pays homage, one beat-filled rhythm at a time, to those of the past in a futuristic format.

With feet from another galaxy, Savion poses the question, "Can you see sound?" Sound had better stock up on Red Bull before meeting the likes of Savion Glover’s fast and furious feet... They move at light speed!

Act one begins with an intergalactic soundtrack and backdrop. Mr Glover, facing upstage for a good five to ten minutes, jams away. Instantly the focus in on the sound. We don’t see his face, yet, I am transfixed. Savion Glover has me at hello.

He is understated, donning a loose t-shirt with tuxedo pants. Savion is comfortable right there on the stage in his tap boots. He is comfortable in his own skin. The effortless manipulation of tap sound is interwoven with spoken word by Savion, (who has a remarkable voice by the way). He even kills the lights and dances in the dark, further highlighting his magical beats. This first half of the show is heavily in remembrance of those great, pave-making tappers, highlighting the improvography of such legends as Jimmy Slyde and Gregory Hines.

Act two is futuristic, comical, sassy and jamming. Although there are some truly extraordinary moments, I am just not as fond of the second half as nearly as much as the first. Unfortunately, some of Savion’s less-experienced counterparts fall flat. The costumes are fiercely outlandish and say, Project Runway; however, based on performance alone, let's just say that... some models may need to be sent home. Fortunately, this is not true of Mr. Glover and his two main men, Marshall Davis Jr. and Maurice Chestnut who are all powerful and technically aggressive. Dance ya'll... Savion rocks Jay-Z level swagger!

Although the corny dance-off session and an anti-climactic ending does little for me, I still leave completely dazzled by the mastery and artistry of Savion Glover, a brilliant man who marches to the beat of his own drum.

In “Sole Power,” the light of dance transcends what we simply see on stage to a broader, more intellectual, and soul-filled moment in history. It hosts a passing of the torch and an embracing extension to the future. The dance is the father and Savion Glover is the son – of sound.

See Savion Glover's, "Sole Power" at The Joyce Theater June 21- July 10 and be inspired... Keep Slyde alive!

To hear the exclusive iDANZ interview with Savion Glover, CLICK HERE.

iDANZ Critix Corner
Official Dance Review by Martine Quigley
Performance: Savion Glover's "Sole Power"
Venue: The Joyce Theater
Date: June 28, 2010
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Dance Review: Perceptions Contemporary Dance Company at Teatro LA TEA Theater

noreply@blogger.com (iDANZ) — Mon, 21 Jun 2010 19:11:00 +0000

New York is about laying it all on the line..'if you can make it here you can make it anywhere' and Perceptions Contemporary Dance Company throws their hat in the 'if you can make it here you can make it anywhere' ring of NY with their explosive evening length premier at Teatro LA TEA Theater last Friday. Relocating from Boston to NY 7 months ago, PCDC boasts fourteen highly trained and expressive dancers - including Artistic Director Melissa Gendreau and Assistant Director Molly Fletcher Lynch. Gendreau believes that because 'Perception is experience' you should 'experience Perceptions' and this statement earns its clout throughout their work. Pieces that showcase PCDC's promise as key players in NY were Gendreau's Magnetic Affixion and Ancient Bruises. Guest choreographer, Natalie Teichmann, of Anahata Dance's Apres Moi shows that same promise.

Magnetic Affixion showcases sequential synergy at its finest. Passing an itch that no one can seem to scratch, the piece reveals a charismatic quartet including Gendreau and Lynch where athletic prowess - and fashion conundrums are put to the test with sneakers and high heels in the mix. The archetypical characters of a businesswoman, "dude," fashionista, and a running woman a la "Sporty Spice" in true NY fashion collide as the magnetic "affixion" sends each character into intense connectedness often channeling whirling dervishes. In their exploration of contact, dancers find themselves stacked tall, held close, on their heads, hands and feet and then propelled away from each other only to be magnetized back until new configurations result. Gendreau and Lynch's intriguing extremities pair well with Jessie Cosentino and Kyung Joon Lee's compact explosiveness.

Ancient Bruises reveals the companies softer and more sobering side - showcasing stunning extension with tear jerking imagery in white, they unabashedly mesmerize. Based on a true story of domestic violence the company weaves the silver lining of a situation laced with a guttural and gruesome stigma. Perceiving an opportunity to breathe beauty into a story wrought with grit - Gendreau's perceptions shine. Her physical storytelling features soloist Chihiro Shimizu as the clay to mold these visions. Striking sculptural pauses of Shimizu's musicality evokes artful upliftedness. Her navigation of connecting with fellow dancers and melting into her own limelight speak both to her clarity of the piece and to Gengreau's direction. Lynch's artistic grasp of the choreography's underbelly leads her to stand out immensely. The soft concavity of her gestures emanates through vibrating hands - no detail of her dancing tale goes un-traversed.

PCDC company member Natalie Teichmann also Artistic Directs Anahata Dance and her work Apres Moi provides a complementary contrast to PCDC. With a strong tongue in cheek presence, architectural precision and an enigmatic "Thing 1" and "Thing 2" charm, Teichmann and Lauren Rosenstein delight. Their impeccable control of both physical and spatial connectivity is channeled through alert eyes. In turn, their audience connection grows stronger with every second. Using the stage as a dynamic playground, a sense of fun perforates any stuffiness residue left from the 9 - 5 crowd. Sweeping to the floor, silently they communicate a sense of peaceful ease - one I know does not hold true but resonates clearly.

The raw materials of PCDC and friends have a home in NY - now their attention must be drawn to connecting the dots through quicker pauses between pieces and other details that have little to do with artistry. I await their new works - Gendreau has big plans for the company on, off and behind the stage with the brand new Perceptions Contemporary Dance Festival this fall, and the PCDC Summer Youth Intensive Dance Camp in August. Be sure to get to the next PCDC show to see heightened humor, subtle softness, and enough passion to claim NY as home base.

As Gendreau says, "Perceptions is Experience...Experience Perceptions!"

iDANZ Critix Corner
Official Dance Review by Eileen Elizabeth
Performance: Perceptions Contemporary Dance Company
Venue: Teatro LA TEA Theater
Show Date: May 28, 2010
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