5/24/16 O&A NYC DANCE: The Thelma Hill Performing Arts Center (THPAC) Kicks Off 40th Anniversary Season With PEEKS Tonight

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The Thelma Hill Performing Arts Center (THPAC) will kick off their 40th Anniversary season with its works-in-progress showcase entitled PEEKS on Tuesday, May 24, 8pm at the Faison Firehouse Theatre (6 Hancock Place). THPAC offers choreographers an opportunity to present dance works in varying degrees of development in front of a live audience. An audience talkback, which provides constructive feedback for both dancers and dance makers follows the showing. Choreographers Marshall Swiney and Walter Rutledge will presents works at this PEEKS showcase.  Continue reading

5/21/16 O&A NYC SATURDAY MORNING CONCERT: Nureyev and The Joffrey Ballet in Tribute to Nijinsky (1980)

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NUREYEV and the Joffrey Ballet/In Tribute to Nijinsky, the Dance in America broadcast, debuted on March 9, 1981. Recorded in August 1880 in Nashville the program presented a collection of three ‘reconstructed ballets had been seen in a special limited run on Broadway. For television, the dances have been supplemented with biographical comments on Nijinsky by Dale Harris and snippets of interviews with Rudolf Nureyev. Continue reading

5/16/16 O&A NYC HOLLYWOOD MONDAY: Air-otica From Bob Fosse’s All That Jazz

By Walter Rutledge

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All That Jazz is the semi-autobiographical fantasy film based on aspects of Bob Fosse’s life and career as dancer, choreographer and director. The  musical film was directed by Bob Fosse with screenplay by Robert Alan Aurthur and Fosse.
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5/13/16 O&A NYC SHALL WE DANCE FRIDAY: Theme & Variations- Gelsey Kirkland and Mikhail Baryshnikov (1978) American Ballet Theatre

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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.

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

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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

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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

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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

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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

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

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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

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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). 

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(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.

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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.