New York City is the dance capital of the world! This week we have modern masters in Manhattan, Hip- Hop Downtown, and Burlesque in Brooklyn. Here are a few events guaranteed to keep you Out and About. Continue reading
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Tag Archives: Joyce Theater
4/1/18 O&A NYC OUT AND ABOUT- WHAT’S HAPPENING THIS WEEK: Spring Break!!!!
Spring Break is here! And the city is abounding with activity “24- 7- 365”. We have art celebrating popular culture in Harlem. Ballet, modern and more throughout the city. Blockbuster and Indie film share the silver screen, jazz to Motown grooves Midtown and the world’s most exotic cars hit the westside. Here are a few of the many events happening in the city that never sleeps guaranteed to keep you Out and About. Continue reading
8/18/17 (Repost) O&A NYC Shall We Dance Friday: Desmond Richardson- Lament and Encore Performance Precious Blood with Carmen de Lavallade
Desmond Richardson is a dancer, co-founder and co-artistic director of Complexions Contemporary Ballet. He has mastered a wide range of dance forms including classical, modern, contemporary ballet and jazz making him one of the most recognized performers of his generation. Continue reading
7/10/17 O&A NYC OUT AND ABOUT: PICKS OF THE WEEK- What’s Happening This Week July 10- July 17, 2017
Summer is here and the city is abounding with activity “24- 7- 365”. We have art celebrating popular culture in Brooklyn. Dance honoring dancers downtown. Blockbuster and Indie film share the silver screen, music blends with movement to reflect on Asian culture at Carnegie Hall, and the swashbuckling continues in Harlem. Here are a few of the many events happening in the city that never sleeps guaranteed to keep you Out and About. Continue reading
(REPOST) 1/20/23 O&A NYC FROM THE VAULT: Ronald K. Brown and Evidence 30 Years In The Making (2017)
By Walter Rutledge
Ronald K. Brown and Evidence, A Dance Company will celebrate the 30 anniversary of the company February 24 through March 1, 2015 at the Joyce Theater. Brown realized his gift as a choreographer and his desire to express him by making dances at the beginning of his dance career. At age 19, when most dance artists are concentrating on performing, Brown formed Evidence. Continue reading
5/12/17 O&A NYC SHALL WE DANCE FRIDAY: A Conversation With Pascal Rioult
Choreographer Pascal Rioult and O&A NYC Editor-In-Chief Walter Rutledge discussed the upcoming New York City season of RIOULT Dance at the Joyce Theater May 31 thru June 4. Continue reading
2/17/17 SHALL WE DANCE FRIDAY: A Conversation With Abdiel Jacobsen
Abdiel Jacobsen made his debut with the Martha Graham Dance Company as an apprentice dancing in Errand Into The Maze with world-renowned Russian ballerina Diana Vishneva. Continue reading
1/31/17 O&A NYC DANCE REVIEW: Dallas Black Dance Theatre
By Walter Rutledge
Dallas Black Dance Theatre (DBDT) returned to New York City on January 5th and 6th as part of the Joyce Theater’s American Dance Platform. The series (curated by Alicia Adams and dedicated to the memory of former Harkness Foundation for Dance executive director Theodore Bartwink) offered a diverse group of eight dance companies including the new, emerging and established. Each company appeared twice on a double-billed program. Dallas Black Dance Theatre closed the five-day/six performance dance-fest on a high note.
Founder and Artistic Advisor Ann Williams has cultivated the company into the quintessential dance theatre ensemble. The style is an extension of the African-American storytelling tradition expressed through movement, and has become the cornerstone of the black dance experience. DBDT continues this legacy by preserving black dance classics, while introducing new and emerging choreographers working in the tradition. The program offered two works in the dance theatre genre Furtherance by Kirven Douthit-Boyd and Matthew Rushing’s Tribute.
The dance theatre tradition extends beyond modern dance steps; it embodies the total theatrical dance experience. Katherine Dunham helped propel the genre to international recognition through her company’s work in motion pictures during the late 1930’s and 1940’s; but Alvin Ailey is undoubtedly the most recognized dance theatre choreographer. Most people associate Ailey with dance theatre classics Revelations and Blues Suite, but it was Broadway that lured him and his friend Carmen De Lavallade to New York.
After appearing in the Hollywood production of Carmen Jones (1954) Ailey moved east performing on Broadway in House of Flowers (1954) (by Truman Capote and starring Pearl Bailey and Diahann Carroll), Sing, Man, Sing (1956) (starring Harry Belafonte) and Jamaica (1957) (with Lena Horne and Ricardo Montalban). These experiences helped shape the Horton-based dancer and choreographer into a song and dance man. Ailey incorporated theatrical elements (including lighting, costumes and acting) into his work creating story based dance narratives. Although Ailey died in 1989 his choreographic genius has continued to influence generations of dance makers.
Kirven Douthit-Boyd’s work, Furtherance, depicts overcoming personal struggle and ends with a celebration of triumph. His use of abstract narrative imagery triumphantly takes us on an uplifting dance odyssey. Furtherance opened with dancer De’Anthony Vaughan sequestered behind a wall of bodies that was aggressively moving upstage. Vaughan quickly eludes the advancing impediment with a series of second position extensions, before continuing on his journey.
Douthit-Boyd worked through a contemporary dance vocabulary that reminisced signature movement from the Alvin Ailey American Dance Theater. Well placed second position extensions, arabesque and attitude turns en dehor peppered the work with ample modern/ballet aplomb. Designed as a series of vignettes the centerpiece of the work was a duet featuring Claude Alexander III and Alyssa Harrington.
Alexander III and Harrington have grown into the roles since DBDT debuted Furtherance in the 2016 Spring Season. This allowed the audience to look beyond the steps and experience the artistry. The seamless lifts and ardent partnering had maturated into effective abstract narrative storytelling. Here Douthit-Boyd successfully trusted the movement to reveal the story, while subtle and nuanced gestures enhanced the section without becoming saccharine.
Keon K. Nickie’s short but energetic solo acted as the catalyst, drawing the dancers into his vortex. In this section Douthit-Boyd artfully created the required rising action to transition into the finale. Harrington returns alone culminating the work dancing in a protective circular cocoon of amber down light.
Matthew Rushing appropriately named his new ensemble work Tribute. The work is a black dance history lesson told through multiple mediums including movement, spoken word, lighting and scenic design. Rushing added a new word to the dance lexicon- Dancestors; which also encapsulates the ballet’s objective.
Throughout the work the names and quotes of iconic figures in dance including 20th century legends Alvin Ailey, Talley Beatty, Janet Collins, Katherine Dunham, Martha Graham, Sammy Davis Jr. and Carmen de Lavallade were interspersed. While dancer, actress and choreographer Hope Clark and Rushing created a voiceover track with quotes from Judith Jamison, Donald McKayle, Dr. Pearl Primus and DBDT dancers. The collective effect helped to create an ancestral family tree of dance artists, with an emphasis on African- American performers.
As in Furtherance the most impressive section was a duet. Male performers Claude Alexander III and Sean J. Smith combined their talents as singer and tap dancer respectively, transforming the Joyce stage into an intimate Uptown cabaret. Rushing provided these two talented performers an avenue to extend their range, and both young artists rose to the occasion.
In the ensuing ensemble sections Rushing continued to reference 20th century dance. Most notably a rendition of Wade In The Water was mixed into the score. Rushing had performed this section of Revelations while a member of the Ailey Company; and the imagery produced seemed less personal/autobiographic and more personable/first person.
For years the art of storytelling through dance has been marginalized in favor of plotless exercises in “pure” movement. Many dance performances seem to mimic nouvelle cuisine; it is interesting to look at, even satisfying to the palette, but not always fulfilling. The Dallas Black Dance Theatre honors the black dance tradition and the dance theatre genre, while helping to move the art form into the 21st century.
1/13/16 O&A NYC REVIEW: Daniil Simkin’s Intensio
By Walter Rutledge
Daniil Simkin’s Intensio had their inaugural New York City season January 5 through January 10 at the Joyce Theater. Simkin presented a stylistically diverse audience friendly program, featuring four works by four internationally recognized choreographers. The company of nine highly trained professionals performed with impressive technical prowess that was only surpassed by the high level of artistry.
The program opened with Jorma Elo’s trio Nocturne/Etude/Prelude featuring Danili Simkin, Isabella Boylston and James Whiteside; with live piano accompaniment by David Friend. Boylston danced with exceptional assuredness, combining quirky circular arm movements with impeccable line and a crystalline attack. The work faired better when the choreography broke from the classical/ballet conventions of arabesque, attitude and pirouette and allowed the performers to just dance. Elo captured the mood and temperament of each section and the clean bright lighting complimented the choreography and the performers.
Welcome A Stranger by Gregory Dolbashian set to a music collage (including mixes by Dolbashian) presented a quintet featuring Celine Cassone, Blaine Hoven, Alexandre Hammond, Calvin Royal III, and Cassandra Trenary. The dark and introspective contemporary ballet was the only work set off pointe, which gave the dancers an opportunity to work through a more grounded center of gravity. Designed in three sections, the work was an excellent vehicle for guest artist Celine Cassone; whose fiery red hair matched her onstage temperament.
Simkin and the City, an amusing short film by Alexander Ekman, had Simkin dancing through Manhattan en route to the Metropolitan Opera House in Lincoln Center. Dressed in princely attire consisting white tights, ballet slippers and a white jeweled tunic; the farce drew laughter from the audience as Simkin entertained passers-by and a barking dog (it’s amazing how much New Yorkers and their pets take for granted). He finally arrives at the Met only to find the front doors locked.
The second part Simkin and the Stage featured home movie footage of a young Simkin (starting at age nine) receiving dance class from his mother in their apartment. The serious, almost stoic child with the page-boy haircut looked more duty-bound than joyous. The adult Simkin danced onstage to a combination of music and a recorded narrative of his own voice. Throughout the work Simkin’s narration directed his dancing autobiography ranging from comedic to poignant.
The final work Island Of Memories by Annabelle Lopez Ochoa began with Simkin lying on the stage while an ocean of whirling light slowly rolled across the stage like an ebbing high tide. Lighting designer Dmitrij Simkin (Daniil’s father) using infrared sensors to track the heat of the dancer’s footwork illuminating the performers’ path with every step. Set to Vivaldi’s The Four Seasons the full ensemble work lived up to Daniil Simkin’s objective of marrying dance and technology.
The simple, but effective stage set consisting of rectangular mirrors suspended above the stage provided another visual perspective to the work; creating the illusion of viewing the dance from the orchestra and balcony simultaneously. The duel perspective revealed the choreographer’s visual intent and the pattern work/stagecraft from above. American Ballet Theatre dancer Hee Seo performed with notable abandon especially in the duet with fellow ABT member Calvin Royal III.
Daniil Simkin’s Intensio bridges the artistic gap between traditional and contemporary ballet; and the company accomplishes this goal without sacrificing artistic integrity. The company made its first leap into the New York City dance arena offering good form and a lot of fun. Simkin embraces the idea that dance, especially ballet, can be innovative and entertaining.
1) Isabella Boylston and Alexandre Hammoudi – Image by Paula Lobo
2) Daniil Simkin – Image by Yi-Chun Wu
3) Céline Cassone and Calvin Royal III – Image by Paula Lobo
10/11/15 O&A NYC Picks of the Week October 11- October 18, 2015: Brunch, Art, Dance, Film, Music and Theater
Autumn is finally here! And it has ushered in a whirlwind of fall arts events. We have fine art, dance, film, music and theatre; something for everyone. Here are a few of the many events happening in the city that never sleeps guaranteed to keep you Out and About.
Dirt Candy 86 Allen Street, New York, NY 10002 (212) 228-7732
For the first time in its seven-year history, Amanda Cohen’s vegetarian restaurant is serving brunch. The menu includes dishes like a “greens sandwich” stuffed with stir-fried vegetables, a “spinach ramen salad,” and carrot granola with labneh. Cohen is also serving an homage to one of her favorite long gone NYC restaurants,The Royal Canadian Pancake House: the “Canadian cracker,” which is two waffles with fried eggs, cheese, and roasted tomatoes.
Wallflower 235 W 12th Street, New York, NY 10014
The new brunch menu at this celebrated West Village cocktail parlor has French-influenced dishes like pain perdu, croque madame, and a Provençale omelette, plus a bacon quesadilla and scrambled eggs with biscuits and gravy. Xavier Herit’s cocktail list includes a fancy Bloody Mary, plus a Pimm’s and sparkling wine concoction called the “Rose Royal.”
Kongo Power & Majesty
The Metropolitan Museum of Art 1000 Fifth Avenue (at 82nd Street), New York, NY 10028 212-535-7710
Central Africa’s Kongo civilization is responsible for one of the world’s greatest artistic traditions. This international loan exhibition explores the region’s history and culture through 146 of the most inspired creations of Kongo masters from the late fifteenth through the early twentieth century. Exhibition run through January 3, 2016.
Jim Shaw: The End Is Here
New Museum 235 Bowery, New York, NY 10002 (212) 219.1222
Over the past thirty years, Shaw has become one of the United States’ most influential and visionary artists, moving between painting, sculpture, and drawing, and building connections between his own psyche and America’s larger political, social, and spiritual histories. Shaw mines his imagery from the cultural refuse of the twentieth century, using comic books, record covers, conspiracy magazines, and obscure religious iconography to produce a portrait of the nation’s subconscious. The exhibition runs through January 10, 2016.
José Limón International Dance Festival- October 13-25, 2015
Joyce Theater 175 Eighth Avenue New York, NY 10011 (212) 691-9740
To commemorate the Limón Dance Company’s 70th anniversary season, the José Limón Dance Foundation presents an International Dance Festival showcasing the variety and depth of this master choreographer’s humanistic vision. The programs promise to be glorious as Limón dancers, guest artists from acclaimed companies like the Royal Danish Ballet and the Bavarian State Ballet, and dancers from among the world’s finest education programs like The Juilliard School, North Carolina School of the Arts, and the University of Taipei join forces to bring Limón’s magnificent artistry to life in such signature pieces as Missa Brevis, Orfeo, and The Moor’s Pavane.
H.T. CHEN & DANCERS: South Of Gold Mountain– October 15-18, 2015
New York Live Arts, 219 West 19th Street
Chen Dance Center
H.T. CHEN & DANCERS present the New York premiere of South Of Gold Mountain Thursday-Sunday October 15-18 (Thurs/Fri/Sat at 7:30 PM; Sunday at 3 PM) at New York Live Arts, 219 West 19th Street. The multi-generational cast includes Dian Dong, whose family relocated to the U.S. in 1864, and Renouard Gee, whose family also emigrated from China and settled in Houston, Tx, where they ran a grocery store. The production memorializes the immigrants’ struggles with discrimination and racism, and their contributions to the building of America by working on railroads, levees, plantations, and as grocers, launderers, and later as restaurant owners.
The husband and wife team of H.T. Chen and Dian Dong created the work after conducting three years of extensive research and in-depth interviews with immigrants and their descendants. South of Gold Mountain has received the support of Chinese American community heritage museums and family associations in the U.S. For tickets and more information visit chendancecenter.org or newyorklivearts.org.
Pan the action adventure follows the story of an orphan who is spirited away to the magical Neverland. There, he finds both fun and dangers, and ultimately discovers his destiny—to become the hero who will be forever known as Peter Pan.
Pan
During a manned mission to Mars, Astronaut Mark Watney (Matt Damon) is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, if not impossible rescue mission. As these stories of incredible bravery unfold, the world comes together to root for Watney’s safe return.
The Martian
Staten Island Jazz Festival- October 17, 2015
Snug Harbor Cultural Center, Music Hall 1000 Richmond Terrace, Staten Island
The Universal Temple of the Arts (UTA) presents the Staten Island Jazz Festival on Saturday, October 18 at Snug Harbor Cultural Center, Music Hall to critical acclaim and loyal audiences for 28 years. UTA has long embraced Jazz, an American-born music genre, and founded the Staten Island Jazz Festival in 1988 with the intent of both preserving and promoting Jazz arts. UTA has consistently delivered an extraordinary show combining local talent with legendary artists.
The roster for 2015 includes: Hamiet Bluiett, Kiane Zawadi, Winard Harper Ensemble, Danny Mixon Quartet, Leopoldo Fleming Afro-Caribbean Jazz Ensemble, Betty Shirley, The Makanda Project, Dr. Mambo and the Experience Ensemble, Emme Kemp, Jaron Eames, David Jones, Karlus Trapp, Vinnie Ruggieri, Bob Kaiser, Chris Kaiser, Jeannine Otis, WaFoo, Rudi Mwongozi, and festival founder Sajda Musawwir Ladner. For more information about the workshops, please call (718) 273-5610, email info@utasi.org or visit utasi.org.
12 Angry Men, October 15- 18, 2015
Kumble Theater for the Performing Arts at Long Island University’s Brooklyn Campus
The Center for Arts & Culture at Bedford Stuyvesant Restoration Corporation in partnership with The New Press present 12 Angry Men, Thursday October 15 through Sunday October 18 at Kumble Theater for the Performing Arts at Long Island University’s Brooklyn Campus. The production directed by George Faison and features a talented cast including : John Amos, Jerome Preston Bates, Chuck Cooper, Jason Dirden, Nelsan Ellis, Stephen McKinley Henderson, Dule Hill, Russell Hornsby, Dorian Missick, Roscoe Orman, Michael Potts, David John Washington, Victor Williams.
This theatrical presentation reveals some pointed truths about our nation, from a collective of African-American actors represented by a dozen African-American men from across the United States, sharing their personal stories of being racially profiled. Tickets are $35; $25; $15 students and seniors w/ID. On opening night 10/15)$50; $35, $25 (students and seniors w/ID). For information and reservations visit kumbletheater.org.
We look forward to seeing you Out and About
