5/13/16 O&A NYC SHALL WE DANCE FRIDAY: Theme & Variations- Gelsey Kirkland and Mikhail Baryshnikov (1978) American Ballet Theatre

Shall We Dance
live-your-dream-most-memorable-dance-partners-L-4bR5SY

Theme and Variations received its world premiere at New York’s City Center on November 26, 1947, danced by Alicia Alonso and Igor Youskevitch. George Balanchine’s plotless ballet with its glorious choreography and glittering costumes is a vision of the Imperial Ballet in its heyday at the Maryinksy Theatre.  A second production with costumes by Desmond Heeley,  premiered at the Metropolitan Opera House, New York, on April 17, 1978, with Gelsey Kirkland and Mikhail Baryshnikov in the leading roles.

Continue reading

8/21/17 (REPOST) O&A NYC DANCE: Alvin Ailey- Cry

By Walter Rutledge

JamisonWaldman_556126a

In 1971, Alvin Ailey created Cry, one of his signature dance works, as a birthday present for his mother Lula Elizabeth Ailey. Ailey dedicated the ballet to “all black women everywhere — especially our mothers.” The three-part ballet, set to popular and gospel music by Alice Coltrane, Laura Nyro and Chuck Griffin, depicts a woman’s journey through the agonies of slavery to an ecstatic state of grace. Cry premiered at New York City Center on May 4, 1971. Continue reading

5/12/16 O&A NYC THROWBACK THURSDAY- THE 80’S: Batdance- Prince

Throwback Thursday logo 2

Batdance-cover

The Batdance music video, directed by Albert Magnoli and choreographed by Barry Lather, featured dancers costumed as multiple Batmen, Jokers and Vicki Vales. Continue reading

(Repost) 2/26/21 O&A NYC DANCE EXTRA: A Conversation with George Faison- The Creative Process

By Walter Rutledge

“George Faison is one of my favorite people. Choreographer, director, performer, teacher, activist and cultural icon Faison’s story is larger than life. Throughout his five decades of artistic exploration he has maintained a keen eye, a childlike curiosity and a frolicsome sense of humor; which is reflected through his art and life. This interview was originally posted on May 6, 2016 and was filmed at the Faison Firehouse.”- W. Rutledge

IMG_0190 2

Tony and Emmy Award winning choreographer George Faison will present a new work entitled Kingdom Come at the McDonald’s Gospelfest – Live at Prudential Center (25 Lafayette Street, Newark, NJ) on Saturday May 7th. The ensemble work is an inspiring, and uplifting ballet set to a haunting score of ‎Jerome Olds. Throughout Faison’s career the humanistic quality of his work, and his ability to reach beyond the footlights and touch an audience has become his signature.    Continue reading

5/6/16 O&A NYC SHALL WE DANCE FRIDAY: La Valse (1951) Featuring Tanaquil LeClercq and Nicholas Magallanes

Shall We Dance hqdefault

George Balanchine choreographed Maurice Ravel’s La valse in 1951. Ravel wrote La valse, poème chorégraphique pour orchestre (a choreographic poem for orchestra), between February 1919 and 1920. The music premiered in Paris on 12 December 1920. It was conceived as a ballet but is now more often heard as a concert work. The work has been described as a tribute to the waltz, and the composer George Benjamin. Continue reading

5/4/16 O&A NYC DANCE: Storm Troopers Dance On Star Wars Day- May the 4th be with you

1450281409stormtrooper_intro_dance

Star Wars has become so popular the public has created a Sci-fi holiday. On May 4, people around the globe celebrate Star Wars Day. Recognizing Star Wars on May 4 reportedly dates back to 1979 when Margaret Thatcher took office as U.K. prime minister and was congratulated with an ad in the London Evening News which read, “May the Fourth Be With You, Maggie. Congratulations.” as a play on “May the force be with you, Luke.” So, now May the 4th is celebrated as Star Wars Day annually. Continue reading

5/2/16 O&A NYC REVIEW DANCE: Dallas Black Dance Theatre

By Walter Rutledge

12974339_10153866983866195_4296477331756095623_n

The Dallas Black Dance Theatre presented their annual New York City season entitled Masterworks Redefined on April 22 and 23, 2016 at the Ailey Citigroup Theater. The extremely audience friendly concert offered five works by five dance makers. The works, which included two world premieres, one company premiere and two revivals, showcased the talents of emerging African- American choreographers and early works by more established artists of color.

DBDT_What-to-Say

Every dancer dreams of flying and in the company premiere of Jamal Story’s duet What to Say? Notes on Echo and Narcissus (2015) the dancers got to defy gravity. The work served as a visually satisfying opener with dancer Claude Alexander lll suspended centerstage in a cocoon of white fabric over the plaint Alyssa Harrington. As the ballet developed the dancers utilized the natural momentum of the hanging fabric to produce a pleasant, yet sensual feeling of motion and weightlessness.

13051693_10153894072436195_407299631533109195_n 2

Alexander’s partnering remained self-assured while suspended and a’ terre providing a good balance to Harrington’s abandon. The novel concept (novel for concert dance) is derived from the choreographer’s extensive aerial work with such pop music legends as Cher and Madonna. Although impressive the aerial choreography alone could not sustain the integrity of the work. In fact the work faired far better airborne than earthbound, but this can be resolve with more development on the already existing movement theme.

DBDT_Unearthed

Unearthed (World Premiere 2016), an ensemble work by Bridget L. Moore used a collage of music featuring various renditions of the iconic protest song Strange Fruit. A true abstract narrative, the work challenged the performers to convey more than steps. Moore created strong visual imagery coupled with good choreographic form.

Hana Delong as the grief-stricken mourner, who collapses downstage set the tone for the focused images that would follow. The upstage diagonal crossing into the darkness completed the feeling of sorrow and powerlessness. The imagery continued in a series of linear movement passages that included a militarized marching pattern set upstage and a defiant mid-stage line that went from a raised fist to pointing skyward to the martyred body.

DBDT_Furtherance

The second world premiere, Furtherance (2016) by Kirven Douthit- Boyd, took us from sorrow to celebration. The pastel colored costumes of tunics and shorts by Beth Thomason added a youthful light feeling to the ensemble work. Often athletic and high-energy, the ballet had ritual overtones, which assisted in conveying the transformation.

The second half of the performance presented two early works by Francesca Harper and Christopher Huggins. Instinct 11.1 is an abstract ensemble work by Harper opened Act II. The 2010 ballet was dedicated to her mother Denise Jefferson who lost battle with cancer that same year. The sextet (for four men Claude Alexander lll, Keon K. Nickie, Sean Smith, De’Anthony Vaughan and two woman Michelle Hebert and Kimara Wood) opened in silence, presenting snippets of movement that retreated back to darkness.

DBDT_Instinct-11.1

The “teasers” eventually incorporated verbal sounds produced by the dancers, before the percussive score by Les Tambours du Bronx and the main body of the work began. Rhythmic and earthy the dancers exuded a hyper-masculine persona, poising with wide second position stances with clinched fists and working in visceral unison through circular patterns. The work returned to the opening theme ending in silence again accompanied vocally by the performers.

The program closed with Night Run by Christopher L. Huggins. Set in three movements the uptempo group work for the entire company had a Latin flavor inspired by Rene’ Aubry’s score. The 2003 work revealed elements of Huggins’ then emerging choreographic signature.

With a strong sense of design, good use of dynamics and theatrical undertones Huggins moved the ensemble with an ease and proficiency. Exploding movement and steadfast partnering buoyed the work making it a good program closer. Unfortunately the predictable use of ballet steps including pas de couru, pas de chat, and Brisé detracted from the overall strength of the work by breaking the stylistic continuity. Despite this inconsistency Huggins’ then budding talent was still apparent.

ann-williams-2

The Dallas Black Dance Theatre’s Masterworks Redefined performance series turned out to be an artistic leap forward for the company. This well curated program provided the company with a fresh, clear direction/message. We surmise the artistic cohesiveness has a lot to do with the return of Founder and former Artistic Director Ann M. Williams as Artistic Advisor. 

 

 

 

 

 

 

 

 

 

4/26/16 O&A NYC INSPIRATIONAL TUESDAY- REMEMBERING PRINCE: The Beautiful Ones- Prince and Misty Copeland

Inspirational-Tuesday9aaa20da2dfa93d561bd0f58e3795db8

Misty Copeland first came to the general public’s attention in 2009 when she appeared in Prince’s video Crimson and Clover. Then a soloist and nine year member of American Ballet Theatre, Copeland received a phone call one morning “I was asked if Prince could have my cell number…I was literally still waking up. ‘What? Prince who?'” The next day she headed to Los Angeles for the video shoot. Continue reading

4/17/16 O&A NYC DANCE: Janet Eilber Discusses Appalachian Spring

By Walter Rutledge

Janet Eilber discusses Appalachian Spring -Graham 90th Season (1) 2016

During a recent interview with Martha Graham Dance Company Artistic Director Janet Eilber we discussed the collaboration between Martha Graham   and Isamu Noguchi on Appalachian Spring. AppalachianSpring1

Graham and Noguchi worked together over 20 sets for Graham over the course of three decades, including those for her series based on Greek myths; Cave of the Heart (1946), Errand into the Maze (1947), Night Journey (1947), Clytemnestra (1958), Alcestis (1960), Phaedra (1962), Circe (1963), and Cartege of Eagles (1966) Noguchi also designed the set for her biblical and religious themes, including Herodiade (1944), Judith (1950), Seraphic Dialogue (1955), and Embattled Garden (1958). Probably the most recognizable collaboration is for her movement manifesto on Americana Appalachian Spring (1944). 

Janet Eilber discusses Appalachian Spring

(Repost) April 1, 2014- Martha Graham: Appalachian Spring and Rite of Spring:

At first glance the Isamu Noguchi set, with its sparse flat look established the boundaries of the performance space. The “house” structure with the downstage “porch” set on a diagonal stops short of center stage. The flat fence placed downstage left, and the preacher’s pedestal set upstage on an angle from the fence completed the set design.

Graham Perspective

These configurations of objects create the converging lines; the lines that produce the classic perspective used by artists to direct the eye in paintings. Noguchi’s house mimics Brunelleschi’s drawing of perspective almost exactly. This is not an accident, but a conscience decision by Noguchi and Graham to subtly frame the choreography.

Most of the primary action takes place within the converging lines. Very little group choreography is designed behind the fence and nothing is set stage right of the house. Without obvious overkill Graham was able to effectively direct the viewer’s eye the primary movement conversion.

The close proximity of the downstage porch and fence to the audience builds closeness/empathy for the characters (especially the husband and wife). When these characters look out past the audience we can see the splendor of the open prairie on their faces. And we see it in the glorious “Technicolor” of our individual imaginations.

The universality of the experience extends beyond the American Prairie. This is the story of new beginnings, the optimism of youth, and the promise/hope for the future. Graham’s technical prowess creates a clear and unfettered moving picture, combine this with her ability to convey the humanistic elements of her characters and it becomes apparent why the public has endeared Appalachian Spring for over 70 years.