By Walter Rutledge
Gospelfest 2016 – Honor Thy Mother took place on Saturday May 7th, 2016 at the Prudential Center (25 Lafayette Street, Newark, NJ). The event produced a two-fold celebration; it is both the ultimate gospel music extravaganza and a wonderful tribute to our mothers. The Mother’s Day Eve event has become a day long gospel event for the entire family and community. Continue reading
By Walter Rutledge
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
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
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
By Adewale Adekanbi
Bertolt Brecht remarked, “Art is not a mirror held up to reality, but a hammer with which to shape it.” Not A Crime, a campaign begun six months ago, uses the hammer of art to raise awareness to Iranian human rights abuses. On Monday, April 25 the first two of fifteen Harlem wall murals began to that shape at 2288 Frederick Douglass Blvd at 123rd Street and the Faison Firehouse Theater, 6 Hancock Place.
The murals created by both local and global street artists are designed to provoke conversation about human rights violations. The installation precedes Iran’s president, Hassan Rouhani attendance at the 71st Session of the United Nations General Assembly. In true Faison Firehouse Theater style the event was marked with a catered reception.
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Guests got to experience street artists Ricky Lee Gordon transform the bare brick walk into a monument to social change. Not A Crime Founder Maziar Bahari partnered with Street Art Anarchy, who will curate the Harlem mural campaign. Bahari knows the oppressive human right conditions firsthand; the former Newsweek journalist became the subject of Jon Stewart’s film Rosewater after being jailed in Iran.
On Tuesday March 22 the Dayton Contemporary Dance Company performed Donald McKayle’s 1959 modern dance classic Rainbow Round My Shoulder during Paul Taylor’s American Modern Dance New York City season. The presentation is part of the Taylor Company’s initiative to present new works by emerging choreographers and modern dance masters. This is the second season of the initiative; season one featured an impressive performance of Doris Humphrey’s Passacaglia and Fugue by the Jose Limon Dance Company.
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Following the performance a reception honoring McKayle was held at the Koch Theater, Lincoln Center. McKayle (84) was greeted by well wishers, and a surprising number of dancers who had performed the work over the past 56 years including former Alvin Ailey American Dance Theater performers Donna Wood, Elizabeth Roxas, Ailey 2 Artistic Director Emerita Sylvia Waters and Tony Award Winner George Faison. You have two more opportunities to see Rainbow Round My Shoulder on Thursday, March 24 and Saturday March 26. DON’T MISS IT! (Review of Rainbow Round My Shoulder and related interviews to follow shortly.) For tickets visit www.boxoffice.dance.
Rainbow Round My Shoulder photo by Sara D. Davis/ ADF 2011
By Walter Rutledge
Black Art In America: Fine Arts Show presented the second New York City art show at the Faison Firehouse Theater, 6 Hancock Place (124 Street between Amsterdam and Morningside. The October 23 opening night exhibition held for selected dealers and collectors featured approximately 150 works from over forty artists in medium ranging from oil paintings from Reginald Gammon, to contemporary sculpture by Woodrow Nash. The fine art show runs until Sunday October 25. Continue reading
By Walter Rutledge
Clark Center NYC will present a week of dance and related activities Monday September 28 through Friday October 2 at City College Center for the Arts, Aaron Davis Hall. The event is part of the “rebirth” of the Clark Center for the Performing Arts; the venerable New York City dance institution that closed 26 years ago. The new Clark Center NYC returns as a virtual dance center instead of a brick and mortar facility. Its mission is to not just honor past accomplishments but to offer opportunities to the next generation of dancers and dance makers. Continue reading
By Walter Rutledge
What do you do when you need to replace a Tony Award winning actor? You replace her with anyone Tony Award winning actor! And that’s just what George Faison did with The Wiz: A Celebration In Dance And Music, the concert version of the 1975 Tony Award winning musical presented in the City Parks Foundation SummerStage series August 12 through August 14.
Dee Dee Bridgewater, who won a Tony Award for Best Featured Actress in a Musical for her performance as Glinda, the Good Witch of The South in The Wiz, opened the concert on Wednesday, August 12 at Rumsey Playfield in Central Park. Due to prior commitments Bridgewater could only perform opening night. On Thursday, August 13 the production moved uptown to Marcus Garvey Park for two final performances and in true “The show must go on” style Tony Award winner Lillias White took over the role.
Again for a second night the audience began to arrive in the afternoon for the free performance and by show time the overflowed crowd spilled out of the Richard Rodgers Amphitheater. White did not disappoint she stepped into the role of Glinda and with an entourage of tuxedo clad men brought Dorothy and the musical home!
There is one final performance tonight. The evening begins at 6:45 with a master class by Darrin Henson. This is a free performance and seating is first come first served so you better arrive early!
TO READ MORE ABOUT- The Wiz: A Celebration In Dance And Music CLICK BELOW
http://outandaboutnycmag.com/81315-oa-nyc-review-the-wiz-is-a-wow/
By Walter Rutledge
The concert version of the 1975 Tony Award winning musical The Wiz debuted on Wednesday, August 12 at Rumsey Playfield in Central Park. The Wiz: A Celebration In Dance And Music directed and choreographed by George Faison marked the 40th Anniversary of the groundbreaking musical. Before the performance started Rumsey Playfield looked more like it was a rock concert than a dance performance; the overflow crowd began lining up mid afternoon for the free outdoor theatrical event.
After a brief introduction by City Parks Foundation SummerStage dance curator Danni Gee, George Faison took to the stage with classic Faison panache. He and former Wiz munchkin Phylicia Rashad co-narrated the concert version of the musical, which featured the songs and dance numbers from the original musical plus new choreography and staging created for this production.
The cast was a combination of young performers, many who have honed their craft under Faison, and original cast members returning in roles and cameos. Darlesia Cearcy (Dorothy) and Anita McKinney (Aunt Em) opened the evening with McKinney’s rendition of The Feeling We Once Had. The tornado dance followed creating a whirlwind of moment. Khalia Campbell wowed the audience as the Tornado Eye. The tall and limber Campbell reminisced the memorable performance of Broadway diva Evelyn Thomas who transported Stephanie Mills and the Majestic Theater audience to Munchkinland.
Ebony JoAnne had fun in the role of Addapearle, and her playful rendition of He’s The Wizard sent Dorothy on her journey to Oz. Her escorts Jahmal Chase, Martel Ruffin, Nehemiah Spencer and Devonte Jerome Wells were the funky yellow brick road quartet complete with trademark yellow Afros and poles. Throughout the entire performance the audience clamped and sang along.
It was evident that time had not diminished the popularity of the Charlie Smalls’ score. Dance Arranger/ Musical Supervisor Timothy Graphenreed and a six piece on-stage Wiz band featuring Edward Callahan (Keyboard 2) John Matthew Clark (Bass Guitar) Paula Green (Percussion) Jeremy Jordan (Keyboard 3) Segdrick Marsh (Drums) and Damien Sneed (Keyboard) kept the face paced production moving. While Oz Singers Chenee Campbell, Anitra McKinney, Matia Washington and Darryl Jovan Williams provided the background vocals.
Garry Q Lewis was an energetic Scarecrow, John Manzari’s strong tenor voice and tap dance acumen endeared his Tin Man to the audience and Reji Woods’ comedic cowardly Lion was entertaining. Inaya Day (the second Dorothy) cooled the audience with her soothing rendition of Be A Lion. One of Faison’s real gifts is showcasing performers strengths; Day also returned to sing Home and again proved a capable balladeer.
A new number, the Emerald City dance, is a sharp, lively and invigorated addition. The stylish sequence complete with emerald-green attire and copper-colored wigs had “Emerald City elegance”. Gate Keeper Devonte Jerome Wells proved a formidable triple threat with his strong dancing, stage presence and vocals.
The Poppies scene became an immediate audience pleaser when six ladies from the 1975 original production appeared on stage. Shirley Black Brown Coward, Paula Brown Douglas, Jamilah Halvorson, Alyson Williams, Joni Palmer and Gina Ellis strutted, posed and brought sexy back. This sextet of sexy sirens seduced the Lion with ole’ school charisma and swagger.
Another standout was Nehemiah Spencer as the Lead Monkey, which remains a pivotal role as the leader of Evilene’s bidding. Speaking of the wicked witch, Elaine Nicole Phifer attacked the role with great command. Evilene was mean (and clearly hungry), but her No Bad News and chant were definitely good news for the audience. Her eventual demise provided witty comic relief and was a clever transition to Brand New Day complete with full stage kick line.
Andre De Shields returned in his signature role as The Wiz. Complete with white jumpsuit, cape and platform shoes he played a major role in this production. De Shields seemed to enjoy performing the role almost as much as the audience enjoyed his performance. The proof was his show-stopping sustained vocals, swashbuckling super hero cape, which billowed across the stage with great aplomb, and De Shields’ three songs ranging from up-tempo, to ballad, then gospel infused lyrics.
Dorothy returned home with the helped of Glinda and an armada of white-clad dancers. Dee Dee Bridgewater floated on stage via the shoulders of four men in white tuxedos. Bridgewater’s impassioned delivery had the élan of an accomplished performer and again made us all “Believe”.
The Wiz celebrates 40, but this classic musical remains timeless. Faison continues to do what he has done for more than 40 years, to mold talented young artists- this is his true genius. Even before The Wiz Faison trained dancers, many of the returning artists met Faison as teenagers; and eventually became members of his dance company the George Faison Universal Dance Experience.
The number of artists who have experience “The Faison Boot Camp” and now have profession careers are as plentiful as the lights on Broadway. All speak of him with respect, admiration and great affection. Congratulation to George Faison, co-producer Tad Schnugg and The Wiz as they continues to “Ease On Down The Road”.
The production moves uptown to Marcus Garvey Park for two final performances Thursday, August 13 and Friday, August 14. The evening begins at 6:45 with a master class by Darrin Henson. Seating is first come first serve so please come early.
In Photo: 1) Reji Woods 2) Ebony JoAnne and Darlesia Cearcy 3) John Manzari 4) Darlesia Cearcy and Dee Dee Bridgewater
Michael Seto Photographer
TO READ MORE ABOUT –The Wiz: A Celebration In Dance And Music CLICK BELOW
The dance world mourns the loss of its Lyric Prince; Dudley Williams has passed. The details are still unfolding; but more important than the circumstances surrounding his death, is how he inspired everyone who ever met him through his giving, humble spirit. Over the last twelve years Dudley became a colleague, friend, and confidante. We shared an appreciation for many things, two that were always paramount: dance that could reach beyond the footlights and touched your soul, and a very dry martini. Continue reading
Ghanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6RGhanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6R
The Dance of the Village Elders are back ! This time we exercise, dance and just have fun through the zoom platform or in-person at R.A.I.N. Nereid Ghanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6RGhanaian artist Paa Joe has brought some of New York City’s most iconic motifs to life. As part of Superhouse NYC’s inaugural “Celestial City” exhibition, the multidisciplinary artist served up a handful of lifesize sculptures of the city’s signature signage, including pizza boxes, taxi cabs, bagels and of course, rats. 120 Walker Street, 6R
The Dance of the Village Elders are back ! This time we exercise, dance and just have fun through the zoom platform or in-person at R.A.I.N. Nereid 