Alvin Ailey American Dance Theatre, Ohio Dance Theatre, Antaeus Dance

Dance reviews: ALVIN AILEY, OHIO DANCE THEATRE, ANTAEUS DANCE

ALVIN AILEY amazes!

Imagine the nerve of a Black dancer/choreographer who, in the 1950s, at the height of segregation in this country, deciding to start a company whose purpose was to tell the story of African Americans. The person? Alvin Ailey. The results? A company that in 2009 is celebrating its 50th anniversary and is on an upward curve, while other arts organizations are withering on the vine.

The works of Alvin Ailey American Dance Theatre range from classical ballet, to jazz, to native American dance. Though Ailey died in 1989 at the age of 58, his hand-selected successor, Judith Jamison, took over the company and has helped it thrive.

Ask any of those who gave screaming curtain call after curtain call to the company in their recent State Theatre production, co-presented by Playhouse Square and Dance Cleveland, with sponsorship by Huntington Bank, and they’ll tell you that they had just experienced a presentation of dance wonderment!

In the company’s sixth Cleveland appearance, the program included ‘REVELATIONS,’ considered by many to be the best-known and most often seen modern dance piece. The program also included excerpts from ‘BLUES SUITE,’ one of Ailey’s earliest works. Also showcased in the fourteen selection program, were a powerful rendition of ‘STREAMS,’ the engrossing ‘MARY LOU’S MASS,’ the beautifully performed, ‘HIDDEN RITES,’ the finely honed ‘NIGHT CREATURE,’ and the sensual ‘PHRASES.’

The curtain call, the stirring ‘ROCKS THE SOLE,’ was a perfect ending to an outstanding evening dance which, on opening night of the three performance stand, was thoroughly enjoyed by the near sold-out audience.

CAPSULE JUDGEMENT: It is going to be interesting to see what happens as the Alvin Ailey American Dance Theatre confronts the future with the retirement of Jamison and a new, yet unannounced leader. Let’s hope that whoever is selected has the insight and creativity of the two preceding bright lights of dance.

OHIO DANCE THEATRE presents multi-leveled program

Denise Gula, the founder and artistic director of the Oberlin based Ohio Dance Theatre, is both a choreographer and a theatre person. As such, much of her dance repertoire has a dramatic, story-telling base.

In the company’s recent residency at Cleveland Public Theatre, as part of ‘DANCEWORKS 09, they presented a three-segment program. The opening piece, ‘WHEN I FALL,’ featured the talents of Janet Strukley and Brain Murphy in a well danced, dramatic piece which found the dancers in perfect harmony with the oft-changing musical sounds of Nat King Cole, James Edward Davis and Young and Heyman.

‘SPENDTHRIFT,’ which explored the beauty and power of the ocean’s water as it blows, creates foam, and swirls at the base of the shoreline, found five female dancers using their arms and bodies to move through space. A strong solo by Juliana Freude was a highlight of the classic piece which was set to Vivaldi’s Four Seasons.

The highlight of the program was ‘SILENT WITNESS,’ a tribute to women who are the victims of abuse. The number was inspired by an exhibit presented by Genesis House, which Gula witnessed. She states, “I found myself stunned and moved by the starkness and simplicity of the images. I wanted to make a ballet that would honor these women and help bring awareness to this disturbing social issue.”

In the main, Gula succeeds. There was live dancing by a solo performer, while simultaneously a video showed her falling in love, and the unfolding tumult and brutal relationship which had strong visual and emotional overtones. The music, the illusions of woman, man, children in conflict, and the pain was clearly depicted in the dance and movements of Janet Strukley and Kyle Primous.

Unfortunately, the piece become overly long and redundant by the addition of a music video which was seemingly tacked onto the ending. The dance, sans music video, ended on high emotion. No more was needed. The video, which introduced new people and another media, was overkill and weakened the overall effect.

The lack of a curtain call was a creative touch as it left the audience fidgeting uncomfortably in the strong emotions of the piece, encouraged to exit at their own pace, with the images lingering in their minds.

CAPSULE JUDGEMENT: Ohio Dance Theatre’s DANCEWORKS O9’ performance was well received. Gula’s ability to combine dance and theatre, gives the company a hands-up over other groups who often fail in telling stories which require more than dance proficiency.

ANTAEUS DANCE’S MOLT, molts

‘MOLT,’ Antaeus Dance’s offering at the recent Cleveland Public Theatre’s ‘DANCEWORKS 09, failed to ignite the audience. This selection, which was overly long, was often repetitious. How many ways and times can dancers arrange and rearranged a pile of straw? Yes, the company proposes to have “a sense of connecting to earth,” but what about this piece, beyond the straw, was earth connecting?

Choreographer Joan Meggitt states in the program that, “The group [those not dancing] acts as a mirror to the soloist’s interior life, with the soloist reflecting upon what the group, in turn, reflects back to her.” Oh, if only that were true. That may have been her intent, but it wasn’t what was visually presented.

The dancers, though they tried, were not always in sync. They needed much more work, and a honing of their skills by a purposeful choreographer.

CAPSULE JUDGEMENT: Joan Meggitt and the Antaeus Dance Company disappointed in their ‘DANCEWORKS ‘09’ presentation. Abstract descriptions and the lack of a clear mission do no a good dance program make!

Bodies of Work (Anateus Dance)

Anateus Dance, Beth Salemi shines, but....

Last spring, when reviewing Antaeus Dance Company, I commented, in regard to Joan Meggitt’s choreography that, ‘A shortened piece would have made the evening much more satisfying.” Unfortunately, I must again repeat those sentiments regarding both “The Wanting Seed” and “The Usual Suspects,” which were presented recently as part of the company’s ‘BODIES OF WORK.’

“The Wanting Seed” is billed as a “deeply spiritual piece that examines individual sacrifice and how it affects all of us.” In spite of a creative interpretation of the Arvo Part’s music the performance outlasted its effect.

“The Usual Suspects,” is a piece inspired by silent films of the 1920s and 30s. Meggitt uses Mozart’s classical music as the basis for a contemporary piece which she claims contains “inherent physicality and humor”. After making her point in the first scene, Meggitt keeps adding more and more, with less and less effect.

In both of Meggitt’s choreographed pieces the individual dancers were excellent, especially Beth Salemi. However, the corps segments displayed some unmirrored segments, when the dancers’ timing was not parallel.

The highlight of the evening was “Bounder,” choreographed and danced by Beth Salemi. Wearing a modified hoop skirt, which she used expertly, Salemi displayed both a sense of humor and dancing skill. This was an audience pleasing and clever creation.

CAPSULE JUDGEMENT: Joan Meggitt is a talented choreographer who might consider reexamining her philosophy and ask whether after accomplishing her message she needs to restate and restate the idea.

Verb Ballet, Inlet Dance, Antaeus Dance, American Ballet Theatre--March, 2004

QUICK COMINGS AND GOINGS: VERB BALLET, INLET DANCE, ANTAEUS DANCE, ABT

One of the problems with short run productions is that before the word can get out, they are gone. This is especially true with many of the performances of local dance companies, which usually run one weekend. A case in point is the Cleveland Public Theatre’s “Dance Works ’04.” Some of the area’s finest choreographers are being showcased. Unfortunately, each group gets a one weekend three-performance slot. Since you can’t get to see what has been, maybe you can get ready for what’s going to be. If you see that these companies are presenting, go before they are gone once again.

Cleveland is blessed with some wonderful choreographers and company artistic directors. Three of the very best are being showcased in the “Danceworks ‘04” series. Two have already had their works presented: Hernando Cortez of Verb Ballets, and Bill Wade of Inlet Dance. Here are mini-reviews of what was presented.

VERB BALLET

The company’s ‘CONTEMPORARY ARTISTS COLLECTION 04’ was a wonderful and creative evening of dance. The dancers worked with assurance and displayed a complete understanding of each the choreographer’s works. Mark Tomasic and Tracy Vogt were superb in “In Passing.”

Dancing on boxes, in ballet shoes on toe, “The Last Sun” showcased wonderful dancing by Meghan Haas and DeAnn Petruschke. Unfortunately, Robert Wesner’s affected movements and lack of body control were distracting.

“The Envelope” was an absolutely delightful piece centering on the passing of an envelope from dancer to dancer. The melodramatic music and quick short moves delighted the audience.

“A Twist of Fate” was brilliant! It was a powerful, unsettling piece, accomplished with wonderful shadows projected onto the back scrim by lighting designer Cheanult Spence.

“Mozart Piano Trio in C Major” was danced to the fine live accompaniment of Eric Ziolek and Sara and Jeffrey Schimpelfenig. The classical music and contemporary stylized movements blended to give a sprightly conclusion to a wonderful evening of dance.

All in all, this was an entertaining, eclectic evening of dance. As a patron said as he walked out, “I could see that again.” I agree!! For information about Verb Ballets and their next performances call 216-397-3757.

INLET DANCE

Inlet Dance is at its very best when the company is performing to the ingenious choreography of Bill Wade. This was well-illustrated in their “Dance Works ‘04” program. Every one of Wade’s staged pieces was compelling. The works of the other choreographers left much to be desired.

Wade’s “B’roke,” danced to a Vivaldi violin concerto, was beautifully presented. He created involving stage pictures through the inter-twining of bodies. Each physical move perfectly fit the musical underscoring. Jennifer Lott lit up the stage. Marget Ludlow, M. Leila Pelhan and Devon Schlegelmilch were outstanding in this and each piece in which they performed.

“Doppleganger” was the evening’s highlight. Featuring 16-year old African American twins, Bryan and Ryan Peoples, who helped develop the choreography, the dancers displayed amazing physical strength and body control and blended into a co-joined tandem of gymnastic dance movements. Wow!!

“ImPAIRED” saw Leila Pelhand and Christopher Whitney impressively performing the entire piece blindfolded. The slow gymnastic movements were beautifully executed. This was a powerful piece, well conceived and well executed.
Less effective were “Tides and Solitude” which Sally Wallace choreographed using long poles which were used by the dancers to propel themselves across the stage. The effect worked for a while but the extended music and repeated movements became tedious and the piece called for cutting.

Jennifer Lott danced her own choreographed piece, “Duet” competently. The single dancer partnered with a square of light. The choreography failed to captivate.

“Dante’s First Night,” staged by Leilani Barrett, failed to coordinate the tone of the music with the dance movements. The repetitious music and lack of group unity hurt the piece. Interestingly, it was the performance of the choreographer that was most responsible for the lack of precision.

Steve Rooks’ “You Are Now Connected” missed the mark. The dancers, though they valiantly tried, were not capable of interpreting the rap music’s intent.

For information about Inlet Dance call 216-382-0201 or email inletdancetheatre@sbcglobal.net.

ANTAEUS DANCE COMPANY

Starting with a series of bangs and cymbal clashes, choreographers Dough Lodge and Joan Meggitt’s “Moments of Repose” had an impressive beginning. But, as the piece went on and on, repeating and repeating the same musical tones and movements, the audience lost interest. It was too much of the same. Supposedly inspired by Frank Gehry’s Peter B. Lewis Building on the campus of Case-Western Reserve, the piece should have, like the building, flowed, flashed, attracted emotional attention, brought about strong emotional reaction. It didn’t. After a while more attention was paid to Greg D’Allessio’s solo manipulation of the musical instruments than to the dancers. The female dancers—Jenita McGowan, Sherri Mills, Latifa Sage, Beth Salemi and Shanna Sheline--were all very proficient.

A shortened piece, programmed with something of a different feeling, would have made the evening much more satisfying.

For information about Antaeus Dance Company call 216-486-2874.


AMERICAN BALLET THEATRE

Performing as part of the Ballet Series at Playhouse Square Center, American Ballet Theatre proved why it is a world class company. The program, danced to a full orchestra, opened with “Raymonda,” a classical piece with folkloric overtones. Well staged, it featured Irina Dvorovenko and Maxim Beloserkovsky in lead roles. Maxim and Carlos Lopez’s high scissors leaps and the precision dancing and toe work of Erica Cornejo were the piece’s highlights.

“Pillars of Fire,” was a somber, beautifully danced piece which combined traditional movements with modern staging. The result was a moving choreographic concept in which the moods of the dance and the music became one.

“Within You Without You: A Tribute to George Harrison” was the lesser segment of the evening. Though it was interesting to see the former Beattle’s music set to dance, there was a lack of consistency in interpreting many of Harrison’s lyrics to the movements. This was especially true in “Something.” “I Dig Love,” with its interesting lift patterns and inter-weavings of bodies, was more on target as was “While My Guitar Gently Weeps” which featured powerful gymnastic movements. “Isn’t It a Pity” consisted of a series of countermoves created by having the dancers work in lines. “Within You Without You” evoked little emotional feeling, while “My Sweet Lord” was a high spirited gleeful dance.

All in all, if you missed ABT, you missed a dance season highlight. They will undoubtedly be returning to the area. Make sure to see them.