11/6/23 O&A NYC DANCE REVIEW: Vespers- Paul Taylor Dance Company

By Walter Rutledge

The Paul Taylor Dance Company began its sixty-ninth season on Tuesday October 31 at the New York State Theater. The two-week fifteen performance season will offer a total of fourteen works by five choreographers. The season will present a world premieres by Larry Keigwin and Lauren Lovette, the return of a work by Amy Hall Garner, company premiere by and Ulysses Dove and nine Taylor classics.

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4/7/23 O&A NYC SHALL WE DANCE FRIDAY: Ballet For Life: Harkness Ballet- Finis Jhung

In the dance film autobiography Ballet For Life: Harkness Ballet former dance and acclaimed teacher  Finis Jhung reminisces about his years with the Harkness Ballet where he reached the pinnacle in his career and discovered Buddhism, which dramatically changed the course of his life. Continue reading

3/27/23 O&A NYC MORE HARKNESS STORIES: Luc Louis de Lairesse- I Cherish Those Days      

Cherish Those Days      

By Luc Louis de Lairesse                                             

Now 44 years ago, Nikita Talin (director) and Rebekah Harkness invited me teach and choreograph for what grew into the Harkness Dance Theatre. The next spring of 1980, Mrs. Harkness, in a private meeting, arranged for my working permit as her administrator, Mr. Bartwink, called the White House. I was impressed to say the least! Continue reading

3/24/23 O&A NYC MORE HARKNESS STORIES: Patricia Williams- Creating Beauty Is Not An Accident.

Foreward by Walter Rutledge

Patricia Williams is the founder and executive chef of 10 Chairs NYC, the Hell’s Kitchen boutique dining concept developed and presented by Chef Williams. But did you know this culinary diva actually received  her first  New York reviews as a ballet dancer? Starting at the Harkness School for Ballet Arts, Williams performed with the Harkness Ballet of New York, Ruth Page’s Chicago Ballet, and culminated her performance career with the New York City Opera. From her years of training she learned one universal truth, “Creating beauty does not take form as an accident. It comes by design and hard work.”  

She applied this truth as she began her career in the world of food. As executive chef, she gained two stars from the New York Times. Along the way, Chef Williams has frequently appeared on nearly all National morning talk shows demonstrating her brilliance in combining fresh seasonal unique multicultural flavors at affordable prices.

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2/2/23 O&A NYC MORE HARKNESS STORIES: William Starrett Visiting Mrs. Harkness’s Nassau Home With David Howard and Gelsey Kirkland

An American Ballet Story, a documentary about the the all too short life of the Harkness Ballet, will have it’s New York live screening premiere on April 20th at the New York Public Library Performing Arts – Bruno Walter Auditorium. O&A NYC Magazine. Editor in Chief Walter Rutledge will moderate the post screening Q and A. An American Ballet Story takes us into the stages and studios of the Harkness Ballet through the stories of the dancers who were there. The screening is free but you must reserve seating in advance. 

If you have a stories you would like to share about your Harkness experience please send your articles (250- 500 words recommended) and  photos to walt.harkness@gmail.com. Continue reading

2/2/23 O&A NYC MORE HARKNESS STORIES: William Starrett- Mrs. Harkness’s Nassau Home

An American Ballet Story, a documentary about the the all too short life of the Harkness Ballet, will have it’s New York live screening premiere on April 20th at the New York Public Library Performing Arts – Bruno Walter Auditorium. O&A NYC Magazine. Editor in Chief Walter Rutledge will moderate the post screening Q and A. An American Ballet Story takes us into the stages and studios of the Harkness Ballet through the stories of the dancers who were there. The screening is free but you must reserve seating in advance. 

If you have a stories you would like to share about your Harkness experience please send your articles (250- 500 words recommended) and  photos to walt.harkness@gmail.com. Continue reading

2/1/23 O&A NYC MORE HARKNESS STORIES: Julie Caprio- Forever a Harkness Dancer

On April 20th 2023 a live screening of An American Ballet Story, a documentary about the the all too short life of the Harkness Ballet, will take place at the New York Public Library Performing Arts – Bruno Walter Auditorium. O&A NYC Magazine Editor in Chief Walter Rutledge will moderate the post screening Q and A. An American Ballet Story takes us into the stages and studios of the Harkness Ballet through the stories of the dancers who were there. The screening is free but you must reserve seating in advance. 

If you have a stories you would like to share about your Harkness experience please send your articles (250- 500 words recommended) and  photos to walt.harkness@gmail.com. Continue reading

1/29/23 O&A NYC DANCE HARKNESS BALLET- MORE STORIES ABOUT “AN AMERICAN BALLET STORY”: Kathryn Sullivan

An American Ballet Story takes us into the stages and studios of the Harkness Ballet through the stories of the dancers who were there. On April 20th 2023 A live screening of An American Ballet Storyat the New York Public Library Performing Arts – Bruno Walter Auditorium. O&A NYC Magazine Editor in Chief Walter Rutledge will moderate the post screening Q and A. If you have a stories you would like to share about your Harkness experience please send your articles (250- 500 words recommended) and a photo to walt.harkness@gmail.com.

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11/6/21 O&A NYC AFTER THE CONVERSATION: Elisa Monte, Sarita Allen, Lloyd Knight, Marzia Memoli

The Martha Graham Dance Company concluded its New York fall performances at the Joyce Theater. O&A NYC Editor-in-Chief Walter Rutledge sat down with Treading choreographer Elisa Monte, Graham dancers Lloyd Knight and Marzia Memoli, and “dance Icon” former Ailey principal Sarita Allen for a spirited conversation about Monte’s signature work. After the interview ended the the conversation continued.   Continue reading

12/15/19 O&A NYC REVIEW- DANCE: Greenwood By Donald Byrd- The Majesty and Power in Truth

By Walter Rutledge

When incidents of oppression are remembered through the eyes of the oppressor and their descendants the atrocities usual receive a historic “whitewashing”; or become uncomfortable footnotes in whispered history. There is a majesty and power in truth. Greenwood by choreographer Donald Byrd retells the Oklahoma massacre dubbed the 1921 Tulsa Race Riot; a sinister event of racism that has been swept under the Jim Crow rug of American history.

The difference between an established dance maker and an artist is not just prowess, but their need to take risks. Byrd, an accomplished storyteller, introduces us to the ethereal Jacqueline Green, who functions as an omniscient and omnipresent Griot. Entering upstage center through a floor to ceiling monolith that opens into a black box, Green with an Amazonian presence transports us into the segregated Greenwood district of Tulsa, Oklahoma.

A blond and bouffant Danica Paulos stands center stage framed in a rectangular box of light we hear the approaching footsteps of Chalvar Monterio; who joins her in the light. As she brings her arms together the eerie sound of metal elevator gates closing cuts through the silence. This first innocent encounter probably reflects what really happened; a black man entered an elevator and stepped on the foot of a white teenage girl- the tragedy begins.

Through the course of the work this elevator scenario is repeated three times. Each time the encounter becomes intentionally less innocent, and Monterio’s portrayal becomes more “savage” and physically aggressive. This theatrical device helped symbolize how the incident became more sensationalize by the bigoted Tulsa community to insight the carnage. In each subsequent renditions the walking sound was augmented with the sound of more running as if fleeing an angry lynch mob.

Clifton Brown, Ghrai DeVore-Stokes, Solomon Dumas and Jacquelin Harris portrayed the “colored” citizens of Greenwood. Byrd interspersed moments of stylized posed stillness. These tableaus recall the sepia colored family portraits photographs of the proud Greenwood citizenry. This effectively created a subtle and nuanced pathos for these soon to be victims of mob violence.

To Byrd’s credit he did not create a literal Klu Klux Klan militia; instead the oppressor are silver automatons- faceless, mindless, devoid of a heart or soul. Even the movement vocabulary Bryd assigned to this ensemble of seven dancers had a robotic non-human quality.

The Tulsa African- American community was a living example of W.E.B. Dubois’ doctrine of self- determination. Since the Caucasian population demanded social and economic delineations and extreme apartheid- like separation by race; this left Tulsa’s African- American population to develop their own reality. The people’s ability to adapt, to adjust, survive and flourish; and the concept of Greenwood, a thriving self-sufficient “Colored” community, only created envy, scorn and resentment. The White community only needed a social issue scandal to justify displacing and erasing Greenwood; and destroy the community’s growing and solidified political and civic base.

In a striking moment Green sits downstage legs crossed arms relaxed at her side with her back to the audience; a passive, almost otherworldly, observer of the butchery. Green eventually rises, walks upstage to aid the fallen motionless citizens strewn about the stage floor. She drags Harris from the group and then lifts her onto her shoulder and carries her limp and broken body through the monolithic doorway and out of view.

The 1921 Tulsa Race Riot is one of the many little-known tragedies that illustrates the struggle for racial equality and the oppressive Jim Crow era. Byrd’s ability to translate history into a powerful abstract narrative is another example of how a seasoned choreographer/storyteller brings new life to a forgotten American abomination. Less than two years later the 1923 Rosewood Massacre decimated another thriving African- American community in Florida. These atrocities are absent from most classroom history books, so it is up to brave artists like Byrd to remind us of the majesty and power in truth- less we forget.

Greenwood by Donald Byrd  

Solomon Dumas, Akua Noni Parker and Jacqueline Green 2) Danica Paulos and Chalvar Monteiro 3) Clifton Brown, Ghrai DeVore-Stokes, Solomon Dumas and Jacquelin Harris and Jacqueline Green 

Photography by: 1&3) Paul-Kolnik 2) Andrea Mohin/The New York Times