3/7/15 O&A REVIEW: Ronald K Brown and Evidence, A Dance Company 2015 New York City Season

Upside Down Basil Childers-2

Ronald K Brown and Evidence, A Dance Company presented their 2015 New York City season February 24 through March 1 at the Joyce Theater. To celebrate the 30th anniversary the company offered two programs, a total of seven works. The season was a joyous retrospective of Brown’s artistry.

Brown’s signature choreographic style is a combination of West African, urban vernacular, and contemporary modern dance. The one thing that became quickly apparent is Brown’s finite movement vocabulary. Almost every work featured stag jumps en tourant, passé in parallel, turned out or ouvert, petite allegro that consolidated all the styles, walking that varied from pedestrian crossings to spirited struts and open West African inspired port de bras.

The collection of dances reminded me of a Jackson Pollack exhibition. At first glance the similarities outweighed the differences, but the longer you experienced the work the more the textural nuances began to emerge. The vocabulary allowed Brown to communicate to the audience through his own dance language, but more important the movement became secondary to his choreographic structure.

The works presented ranged from 1995 when his style became salient to 2014. Instead of producing a new work(s) Brown wisely chose to concentrate on material that had been properly developed. This provided the audience with a clean and concise overview of the evolution of both Brown and the company.

The season opened with The Subtle One (2014) featuring live accompaniment by composer Jason Moran and the Bandwagon. The works amalgam of styles captured the feeling of Moran’s jazz composition. Brown created a visual rendering of the music, which also was a western art form with African roots.

Excerpts from Lessons: Exotica & March (1995) were two excerpts- a duet and ensemble section. The first movement was set to a speech by Martin Luther King Jr. and performed by Annique Roberts and Coral Dolphin. The duet was the most theatrical of all the works presented during the season. Roberts circled a more stationary and centered Dolphin in a protective orbit. The partnering developed into supportive solidarity, and empowerment.

26ronald-blog427
Dolphin has a quality that transcends technique. Her presence and attack was a combination of amazon power and female fatale attraction. Throughout the entire evening she was able to make you look at her.

The transition from the inviting abstract narrative first section to the pure movement second excerpt was a little jarring. The second section was an early rendering of Brown’s pairing of house infused music with movement. It is amazing how well his vocabulary works at 130 plus beat per minute. The ensemble section contained small groups moving simultaneously and overlapping. This allowed Brown to create a rich tapestry with a focused multiplicity of rhythms.

Grace and Gateway were both choreographed in 1999 for other companies. Gateway choreographed for Philadanco, took the audience on an impassioned excursion. Set on the road to heaven; if this is any indication of what to expect from eternality don’t worry about hot sauce, the “here after” will be a very soulful place.

Grace, designed for the Alvin Ailey American Dance Theater, also has an ethereal feeling. The reconstruction of this work was not as successful as Gateway and was probably the weakest link of all the works presented. Clarice Young carried the lead well, this role has become synonymous with two dance Goddesses Renee Robinson (Hera) and Linda Celeste Sims (Aphrodite). The individual performances were all good and the female ensemble delivered an impressive interpretation. The male ensemble, however, lacked the verve and unison required to do this work justice.

28EVIDENCE-blog427
The two solos presented Through Time and Culture (2014) and One Shot (2007, excerpt from Bellows) were both engaging works with different prospective. In Through Time and Culture Brown danced with a ceremonial spirit, as if he was giving thanks. With arms reaching upward and tight yet light footwork we followed Brown until he disappeared into the wings.

Shayla Caldwell entered the space walking backwards around the parameter of the space. First from stage left to right, then from upstage to downstage, she turns and continues stage right to left. When she walked upstage her body and face were finally revealed. Her movement was introverted and contained. Eventually she moves to  center stage; and throughout the solo Caldwell remained regal but vulnerable. Drawing the audience to her until she is finally covered in darkness.

Why You Follow/Por Que Signes, created in 2014 for MalPaso Dance Company, is a testament to Brown’s choreographic and structural prowess. The work is imagery and texturally rich. The subtle transitions, group development, and musicality created true visual excitement. The most commendable quality was the ease Brown was able to build the work into a movement crescendo through the choreographic structure instead of relying on the performer’s bravura.

The Ronald K. Brown and Evidence, A Dance Company 2015 New York City season was a fitting celebration. The company continues to do what it has done for 30 years, to share the gift of dance. This milestone is just one more in a long line of accomplishments; and one thing we do know that the future holds for Brown and the Company is that they will keep making dances.

2/22/15 O&A Ronald K. Brown and Evidence, A Dance Company Begin New York City Season at the Joyce

Upside Down Basil Childers-2

Ronald K. Brown and Evidence, A Dance Company begin a one week New York City season Tuesday, February 24 through Sunday, March 1 at the Joyce Theater. The season will mark the 30th anniversary of the company. To commemorate this milestone the company will present two programs of Brown’s signature work.  Continue reading

2/19/15 O&A Ronald K. Brown and Evidence, A Dance Company- 30 Years In The Making (Part One)

By Walter Rutledge

Ronald-K-1.-Brown-in-2-e1424285871568

Ronald K. Brown and Evidence, A Dance Company will celebrate the 30 anniversary of the company February 24 through March 1 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

2/17/15 O&A Reposted: Lloyd Knight 2012 Conversation

reposted

LLOYD KNIGHT

During the 2012 New York City season of the Martha Graham Dance Company soloist Lloyd Knight was recovering from an injury. His name was listed in the program, but Knight was unable to perform. After a year of rigorous therapy his persistence and patience paid off and by the summer of 2012 Knight was again in rehearsal. Continue reading

2/6/15 O&A Martha Graham Dance Company Returns To The Joyce

By Walter Rutledge
MG2212

Martha Graham had a fondness for Greek literature and mythology, and utilized these larger than life characters and themes as a source for inspiration. If we were to describe the present Martha Graham Dance Company using a figure from antiquity it would definitely be the Phoenix. The death of Graham, a nasty legal battle for control of work and the changing public attitude toward “how modern was modern dance” seemed to predict the final curtain call for the venerable dance company.

So many institutions struggled to survive after the death of the company’s name sake and major artistic voice, unfortunately many were not able to redefine their mission and are now just a memory. The Graham Company has found a way to not only redefine, and like the Phoenix, to rise with a renewed vigor. Through innovative programming, thoughtful reconstructions and exciting new commissions the Martha Graham Dance Company is once again making a bold artistic statement.

After what can only be described as a triumphant return to New York City Center last year, the company will begin their 2015 New York Season Tuesday, February 10 at the Joyce Theater. The company pays tribute to Graham’s defining influence as an American Modernist with Shape&Design, a program highlighting the sculptural and architectural aspects of choreography by Graham and others. The expanded season, which runs through February 22, will offer 14 performances over twelve days. 

A Conversation With Janet Eilber- Artistic Director Martha Graham Dance Company

Panorama and Chronicle, Graham classics that set the standard for geometric force, are featured, along with Embattled Garden and Errand into the Maze, masterworks with evocative sets by Isamu Noguchi. Shape&Design includes recent works by renowned choreographers Nacho Duato, Andonis Foniadakis, and Annie-B Parson. The company celebrates the 85th anniversary of Graham’s iconic solo Lamentation with the world premiere of four new Lamentation Variations, choreographed by Kyle Abraham, Michelle Dorrance, Liz Gerring, and Sonya Tayeh.

_MG_6871 ed

The performance schedule:

Program A: Feb 11, 15 at 7:30pm; Feb 12, 20-21 at 8pm; Feb 22 at 2pm – Satyric Festival Song, Embattled Garden, Lamentation Variations (including pieces by Kyle Abraham and Sonya Tayeh), Rust, Chronicle

Program B: Feb 17, 22 at 7:30pm; Feb 13-14, 19 at 8pm – Lamentation Variations (including pieces by Michelle Dorrance and Liz Gerring), Errand Into the Maze, The Snow Falls in the Winter, Echo.
Each B Program will open with Essential Shape&Design:
Feb 13 – Deep Song and Panorama
Feb 14, 17 – Frontier and “Steps in the Street”
Feb 19, 22 – Deep Song and Primitive Mysteries (Excerpt)

Program C: Feb 15, 21 at 2pm; Feb 18 at 7:30pm – Lamentation, Embattled Garden, At Summer’s Full, Errand Into the Maze, Diversion of Angels

MarthaGraham

The Gala performance honoring Frank Gehry and Peter Arnell will take place on Tuesday February 10. The program will include Steps in the Street with stage design by Frank Gehry, Shape&Design- a film by Peter Arnell, Misty Copeland in At Summer’s Full and the World Premiere of all four Lamentation Variations by Kyle Abraham, Michelle Dorrance, Liz Gerring, and Sonya Tayeh. A Gala dinner will follow at IAC HQ, featuring Diane von Furstenberg’s Dress The Kick. For Gala tickets contact the Martha Graham Dance Company for tickets to the Gala Performance on Tuesday, February 10. For more information, email info@marthagraham.org or call 212-229-9200.

In Photo: 1)  PeiJu Chien-Pott in Lamentation 2) Xiaochuan Xie in Annie-B Parson’s The Snow Falls in the Winter 3) PeiJu Chien-Pott in Martha Graham’s Errand into the Maze

Photo Credit:  1&3) Hibbard Nash  2)Brigid Pierce

To view Graham’s masterwork Appalachian Spring click below:

Graham Letter to World 1

http://outandaboutnycmag.com/2615-shall-we-dance-friday-appalachian-spring/

 

 

11/25/14 O&A Dance: Complexion Contemporary Ballet …In The Beginning (Part 3) An Interview With Christina Johnson

By Walter Rutledge

unnamed

As Complexions Contemporary Ballet begins the second week of their two-week season tonight at the Joyce Theater we continue our conversation with Christina Johnson. The season commemorates the 20th anniversary of the company, Out and About NYC Magazine looks back through the eyes of artists who there at the beginning. Continue reading

11/21/14 O&A Shall We Dance Friday: Review- Complexions Contemporary Ballet Gala

By Walter Rutledge

10473212_10152250081928892_887167426834923018_n

Complexions Contemporary Ballet held their 20th anniversary gala performance Thursday, November 20 at the Joyce Theater. I believe galas should not be held under the same critical scrutiny as a regular season performance; these events have a different focus. Galas acknowledge company milestones such as dancers transitioning, directors passing the torch, season openings and in this case celebrating the company’s 20th anniversary. Continue reading

11/18/14 O&A Dance: Complexions Contemporary Ballet Celebrates 20 Years (Part One)

Complexions Contemporary Ballet begins a two-week season tonight at the Joyce Theater. The season commemorates the 20th anniversary of the company. This week Out and About NYC Magazine would like to take a look back through the eyes of artists who there at the beginning.

By Aubrey Lynch II unnamed

Founder and Artistic Director, Aubrey Lynch Extra Essential Arts, ALEEArts

Desmond Richardson and I have been best friends since he was about 15. We all knew even back then that he would be a star. When Desmond, Dwight and I were in Alvin Ailey American Dance Theater together doing Alvin Ailey’s Sinner Man all over the world, we became very close, sharing our dreams and the other art forms that interested us. 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

Shall We Dance

DesmondRichardson022110

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

O & A This Week: Tuesday, July 29 Through Monday, August 4, 2014- Art, Dance, Film, Music and Theatre

By Walter Rutledge

finding_fela-1

 The weather maybe unseasonably cool, but the New York City art scene is definitely heating up. Fine arts prevails in Harlem and Soho, dance is turning heads from Long Island to Lincoln Center, film honors the Godfather of Soul and a gadfly for social justice and we have high flying theatre near Union Square. Here are a few of the many events happening this week in the city that never sleeps guaranteed to get you Out and About. Continue reading