The PJs S01E12 – House Potty
Tag: Loretta Abbott
1/17/21 O&A NYC GOSPEL SUNDAY: Purlie (1981) | Robert Guillaume, Sherman Hemsley, Melba Moore
Purlie is a musical with a book by Ossie Davis, Phillip Rose and Peter Udell, lyrics by Udell and music by Gary Geld and choreography by Louis Johnson. It is based on Davis’s 1961 play Purlie Victorious, which was later made into the 1963 film Gone Are the Days! and which included many of the original Broadway cast, including Davis, Ruby Dee, Alan Alda, Beah Richards, Godfrey Cambridge and Sorrell Booke.
Purlie is set in an era when Jim Crow laws still were in effect in the American South. Its focus is on the dynamic traveling preacher Purlie Victorious Judson, who returns to his small Georgia town hoping to save Big Bethel, the community’s church, and emancipate the cotton pickers who work on oppressive Ol’ Cap’n Cotchipee’s platation. With the assistance of Lutiebelle Gussie Mae Jenkins, Purlie hopes to pry loose from Cotchipee an inheritance due his long-lost cousin and use the money to achieve his goals. Also playing a part in Purlie’s plans is Cotchipee’s son Charlie, who ultimately proves to be far more fair-minded than his Simon Legree –like father and who saves the church from destruction with an act of defiance that has dire consequences for the tyrannical Cap’n.
Purlie is a musical with a book by Ossie Davis, Phillip Rose and Peter Udell
8/21/21 O&A NYC DIVO ALERT TRIBUTE: Faison, Godreau and Williams- Road of the Pheobe Snow
Divo Alert! George Faison, Miguel Godreau and Dudley Williams dance in an excerpt from Talley Beatty’s The Road Of The Pheobe Snow with the Alvin Ailey American Dance Theater. Continue reading
6/6/20 O&A NYC TRIBUTE: Loretta Abbott March 1, 19( I ain’t tellin)- May 6, 2016
By Walter Rutledge
Loretta Abbott, dancer, actress, singer and choreographer passed away on Sunday June 5, 2016. A natural performer Abbott had two passions: her love for dance that spanned over 70 years, and her allegiance to the Harlem community where she lived her entire life. Continue reading
11/4/16 O&A NYC DANCE: Alex Smith Jr. Honored At Bessies
By Walter Rutledge
In life there are no detours, it is always the course appointed. Despite all of our plans and dreams we can count on the universe to add some unexpected twists and turns. Thelma Hill Preforming Arts Center’s Executive Chairman Alex Smith Jr. knows this all to well. In 1995 Smith become the guiding force of the organization by proxy, now twenty-one years later he was honored with a Service to the Field Award at the 29th New York Dance and Performance Awards- The Bessies. Continue reading
10/3/16 O&A NYC DANCE: Getting To The Heart of Hearts Of Men
By Walter Rutledge
Hearts Of Men, the multi-generational dance workshop, held their summer intensive August 29th through September 11th, 2016 on the campus of Montclair State University. The two-week workshop provides dance classes, and performance opportunities to male dancers ages 14 and older. This session 12 choreographers set works on over seventy-five dancers of varied technical levels. The choreographers included Germaul Barnes, Julian Barnett, Brian Harian Brooks, Clifton Brown, Christian von Howard, Nathaniel Hunt, Roderick Jackson, Amy Jordan, Edwin Rodriguez, Artie Smith, Hearts Of Men founder Earl Mosley, and yours truly Walter Rutledge.
Although the workshop culminates with a choreographic showcase it is not about the dance makers. The performance is another learning tool designed to allow the dancers (neophyte to professional) to test and/or hone their craft. Ten young men ranging in age from 15 to 23 were assigned to work on my choreography.
This was my third time working with Hearts Of Men. Loretta Abbott and I performed a comedic duet entitled Sentimental Reasons in the 2015 summer session; and reprised the work for the January session (Shirley Black Brown graciously stepped in when Loretta was taken ill). But the 2016 summer season is the first time I worked directly with the dancers in the program.
Early in my choreographic career Bessie Schonberg advised me, “Don’t give them what you want. Give them what they need.” With that always in mind creating a dance theatre work- a dance narrative became our task for this session.
In recent years the dance narrative genre has fallen out of fashion for many reasons. Story ballets are expensive to mount requiring elaborate sets, ornate costumes, and a large corps de ballet. These dances require the choreographer be both dance maker and director, proficient in creating thematic material and character development. In addition performers must understand the power of nuance and acquire a discerning eye for detail that reaches beyond an extension or technical feat.
Many mature performers and balletomanes often remark about the technical virtuosity and impressive physicality of today’s performers. Unfortunately the kinesthetic onslaught often leaves these audience members exhausted for the performers. More awed by the near aerobic pace they often remarking, “How do they remember all those steps.” Before joyously reminiscing about Jose Limon curling three fingers and personally touching them as they sat in the back of the fourth balcony.
Motherless Child tells the story of young enslaved men who long for the love and affection taken from them. A realization quickly set in that the enslaved Africans were the same age as my cast of young dancers. Looking into their faces (each filled with a lifetime of possibilities) I saw our ancestors whose possibilities had been stolen.
Channeling one of my mentors Nikita Talin (who would often quoted Nijinsky, “Act first, then dance”) our task was two-fold to convey sadness and loss and to extract that same emotion from the audience. Moving people to tears requires the use of universal themes and visual images given to the audience in stages, thereby lulling them into an emotional release. When executed successfully the visceral yet humanistic nature of the images and the scenario transcend language and culture.
Since the work was going to be performed bare-chested we worked without shirts from the first rehearsal. This made them cognizant of the plastique (sculptural elements) of the movement from the beginning. We set the work in Horton Technique, but also emphasized the importance of stillness and the power of just walking in character. “Your back talks”, was a common reminder as the dancers perfected movement executed facing upstage.
To reinforce the individual and personal nature of character development images from Renaissance art were introduced. For the group dynamic Raphael’s School Of Athens demonstrated the concept of individuality contributing to the total compositional structure, while Michelangelo’s Pieta helped create the fragile imagery in the death scene. The art also allowed us to discuss the visual focal point and how the choreographer directs the audience to follow the action.
The most important word became intent- simply why. Why are you moving? Why are you reacting? By defining the intent we produced Euclidean economy and focus, streamlining both movement and message.
By our last rehearsal it was time to let the choreography go. In other words the work no longer artistically belong to me exclusively. Through their diligence and hard work the dancers had earned artistic ownership, and I had to step back and trust them.
The performances took place on September 10th and 11th in Montclair State University’s Memorial Auditorium. Fourteen short predominately ensemble works ranging from upbeat pure movement works to abstract narrative to dance theatre were presented to an enthusiastic audience of family and friends. I usually don’t sit in the audience when my work is performed, but this time I needed to feel the energy.
Motherless Child
The music started in the darkness, slowly light began to illuminate the dancers. From the first steps to the final fade to black the dancers moved with intent and commitment, touching the audience and accomplishing their task. Finally during the informal part of the bow you could see and feel their joy- it was both gratifying and humbling.
If the classroom is where you develop your craft, then the stage is where you perfect it. Hearts Of Men continues the time-honored tradition of training, performing and mentorship. To learn more about Hearts Of Men and the other year round programs and services offered by the Earl Mosley Institute For The Arts visit emiadance.org.
In Photo: 1) cast 2) Loretta Abbott and Walter Rutledge 3) cast 4) School Of Athens 5) Pieta 6) cast
Photographs by: 1,3,6 Miskos Production- Milan Misko videographer 2) Howard Hemp 4) Raphael 5) Michelangelo
Video by: Miskos Production- Milan Misko videographer
6/22/16 O&A NYC REVIEW DANCE: Thelma Hill 40th Anniversary Season Continues
By Walter Rutledge
The Thelma Hill Performing Arts Center’s 40th Anniversary season at the Actor Fund Center, 160 Schermerhorn Street, is in high gear. The third evening presented new, emerging and mid-level choreographers with works ranging from ballet to hip-hop. The performance expressed the founding credo of the organization by presenting the diverse and innovative choreography of artists of color.
The evening opened with a series of solo works. Francesca Harper’s Deconstructing Flack consisted of two solo works echoing the theme of love and loss. Both works, set to the music of Roberta Flack, took the audience from prologue to epilogue.
Erika Lisaku danced the opening solo with a poignant despair. Harper captured the haunting quality of Flack’s First Time Ever I Saw Your Face. In the second solo dancer Amanda Sachs conveyed the acceptance of her situation. More reflective and introspective Ballad of the Sad Young Men had a feeling of resolve.
Toro (pool in a river) by Takeshi Ohashi moved with an elegant quiet control. Danced by Ohashi, with live trumpet accompaniment by Justin Osouna Chance, the impressive movement quality combined tight, isolated movement with sweeping floor work. The works fluidity and grounded quality evoked both the purposeful nature Tai Chi and the explosive excitement of break dance.
The last solo, William Isaac’s charming No Banana Skirt, offered an upbeat and fun variation. Amanda Smith danced the lively and energetic pointe piece with technical proficiency and an effervescent deportment. Both the performance and choreography encapsulated the fun spirit of the Josephine Baker’s rendition of Bye Bye Blackbird.
Purelements: An Evolution in Dance closed the first act with The Call by Men Ca. Danced by the junior company the work effectively blended West African and modern dance. The level of professionalism and commitment endeared this group of young performers to the audience, and became one of the most satisfying aspects of the performance.
The Hip-Hop dance crew Special Ops five-man dance crew consisting of Ptah, Floats, Twist, Press, Rachett and Ej wowed the audience. The crew exemplified the evolution of the urban art form synonymous with 80’s street culture to 21st century inner city storytelling through a codified movement style. Using Flexing (isolated movement and contortions, Gliding (floating across the floor) and Shotta Dance (derived from Reggae dancehall) Special Ops shared a gritty reality ripped from today’s headlines.
Nijawwon Matthew’s XY Dance Project transported us from rap to Bach with his ensemble dance Work Forty. The work blended modern, ballet, gymnastics and “Matthews” to create a visual and kinesthetic excitement. Costumed in white bras, and briefs the dancers donned olive-green ski mask type headgear by Project Runaway’s Mondo Guerra, which reminiscence Robert Rauschenberg work in Paul Taylor’s Three Epitaphs. Matthew continues to find his own voice, and we commend and encourage him to keep exploring.
Earl Mosley’s Diversity of Dance closed with Wild and Free! (Draft 5). The jazz infused modern dance ensemble work featured a cast of 23 dancers, and quickly evolved into a witty high-energy pure dance crescendo. Mosley’s ability to bring out the best in every member of the ensemble has become one of his true strengths.
Alexander Diaz distinguished himself with abandoned risk taking and a focused attack, which made it hard not to watch him. The duet between Christine Caimares and Riccardo Bataglia had a strong yet sensual combativeness attack that (thankfully) avoided violence.
The 40th Anniversary Season continues tonight with a new line up diverse choreographers. The roster includes Jamal Story, Jean Emile, HSA Dance Ensemble, Charles Moore Dance Theater, Ronald K. Alexander, Abdiel Jacobsen and Bones The Machine. The evening will open with a special tribute to Loretta Abbott presented by Tony and Emmy Award winner George Faison.
For more information and tickets visit www.thelmahill.com tickets can also be purchased at the box office 30 minutes prior to the performance.
6/17/16 O&A NYC- A CELEBRATION OF LIFE: Loretta Abbott
Loretta Abbott, dancer, actress, singer and choreographer passed away on Sunday June 5, 2016. A natural performer Abbott had two passions: her love for dance that spanned over 70 years, and her allegiance to the Harlem community where she lived her entire life. Continue reading
6/8/16 O&A NYC DANCE: Thelma Hill Performing Arts Center Dedicates 40th Anniversary Season To Loretta Abbott
The Thelma Hill Performing Art Center (THPAC) will dedicate their 40th Anniversary season to dancer icon and longtime THPAC supporter Loretta Abbott. The 4 day season, which runs from June 19 through June 22 at the Actor Fund Center 160 Schermerhorn Strret in downtown Brooklyn, will showcase 40 choreographers, and dance companies during the milestone 40th season. The artists presented range from early THPAC contributors including such dance luminaries as Emmy and Tony Award winner George Faison, Philadanco, Charles Moore Dance Theatre, and Rod Rodgers Dance Company. Mid-career choreographers Marshall Swiney, Ronald K Alexander, Germaul Barnes and Rodger C. Jeffery; and emerging artists Nijawwon Matthews, DaVon Doane, and Sidra Bell. Continue reading
6/5/16 O&A NYC IN MEMORARIUM: Remembering Loretta Abbott
Loretta Abbott was one of three former Ailey dancers in On The Block (After Bearden). The work is a story ballet set on a Harlem neighborhood from the 1950’s through the present day. Loretta, Dudley Williams and Hope Clark shared their exstensive character development expertise with the cast. I gained the artistic respect and friendship of Loretta and Dudley, which lasted throughout the balance of their lives. Continue reading