Review and previews: Dance Theatre of Harlem, The Cleveland Ballet, Groundworks

DANCE THEATRE OF HARLEM @ Ohio Theatre

Founded in 1969, the Dance Theatre of Harlem, which is housed in the Harlem section of New York City, was the first black professional classical ballet company.  Since that time, as was evidenced in their recent Cleveland concerts, the organization has extended its purpose to being racially diverse and performing an eclectic repertoire that stresses empowerment through dance.

The company’s two Ohio Theatre sold-out performances were co-sponsored by Dance Cleveland and Cuyahoga Community College.

Consisting of four segments, three short, full length works and a four-segment number, the program showed the breadth of the company.  Mainly modern ballet, with the women on point, they also showed off their jazz and contemporary moves. 

CHANGE, danced by all women, was a tribute to Black, Brown and Beige females.  EQUILIBRIUM (BROTHERHOOD) highlighted the physicality, athleticism and grace with the spotlight on the exploration of “male bonding and how it brings stability to one’s life.”  SYSTEM, danced to the atonal music of John Adams, centered on migrants and the need to “hold the door open for them to continue moving, building and expanding their consciousness.”

RETURN, performed to music by James Brown, Alfred Ellis, Aretha and Carolyn Franklin, was the crowd favorite during the evening concert, often eliciting loud cheers from the audience, especially the large group of dance students from The Cleveland School for the Arts.  “Superbad,” the concluding segment, which was contemporary hip-hop and street moves, brought the program to a joyous conclusion.

Dance Cleveland’s next concert is Jessica Lang Dance on March 4, 2017 at the Ohio Theatre.  For tickets visit http://www.playhousesquare.org/or 216-241-6000.

CLEVELAND BALLET to present encore performance of A CELEBRATION OF DANCE & MUSIC

The “new” Cleveland Ballet, under the artistic leadership of Puerto Rico-born Gladisa Guadalupe, a former member of the Dennis Nahat-led company which left Cleveland for San Jose, California, wants “Cleveland Ballet to again join the list of jewels that make Cleveland a special place artistically.”  She, along with the ballet board’s CEO and Chair, Michael Krasnyansky, a global business developer, have high hopes for cultivating a world-class resident professional ballet company.

The company’s corps presently consists of 14 dancers, 11 females and 3 males.  They are rehearsing in a studio in Bedford Heights with the goal of presenting classical dances and also telling contemporary stories.  Proudly hanging on the studio’s wall is a banner emblazoned with the motto: “Cleveland Ballet—Respect for the past-present—vision for the future.

Sitting in on a rehearsal for their upcoming Hanna Theatre program helped solidify the idea that these young dancers have formed into a company that is filled with mutual respect and pride.  Taking constructive criticism from the multi-talented Cynthia Graham, a former member of the original Cleveland Ballet, who serves as the company’s Ballet Mistress, they were polite, interested in reaching for perfection, and willing to be a support to their fellow dancers.  No competition here, that is so prevalent in some dance groups.

Whether you missed the company’s CELEBRATION OF DANCE AND MUSIC the first time, or want to see it again, January 27th at the Hanna Theatre is your chance. 

The program will include: “Today’s Students, Tomorrow’s Artists,” “Tarantella,” “Dicitencello Vuie,” “Granada,” “The Cycle of My Love,” “Amore Perduto,” “Piano Trio in C minor Op. 1, no. 3 Finale, Prestissimo” “Octet for Strings in E-flat major,” and “Op. 20 Allegro moderato ma con fuoco.”  For tickets call 216-241-6000 or go on line to http://www.playhousesquare.org

The company will dance A MIDSUMMER NIGHTS DREAM, choreographed by Ramon Oller, at the Ohio Theatre on April 7.  The company’s annual Black and White Gala fundraising event will take place on February 25 at the Tudor Arms Hotel.  For information about the School of Cleveland Ballet which takes students 10-22 years of age or about the fundraiser call 216-320-9000 or go to http://www.clevelandballet.org/

GROUNDWORKS to present 2017 Spring Dance Series

Groundworks, the inspiration of David Shimotakahara, who serves as the company’s Artistic Director, is one of the area’s premiere dance companies. 

The company will present “An Exploration in Connectivity, Changeability and Transition,” on March 17 and 18 at 7:30 in the Breen Center for Performing Arts on the campus of St. Ignatius High School in Ohio City and on March 31 and April 1 at 7:30 at EJ Thomas Hall on the campus of Akron University.

The program will consist of a world premiere works by Shimotakahara and Gina Gibney, as well as “Romora” by award-winning choreographer Eric Handman.

Ticket information can be found at http://www.groundworksdance.org/or by calling 216-751-0088.

BODYTRAFFIC (Dance Cleveland), upcoming dance offerings

A near sold-out audience rose as one following the BODYTRAFFIC dance concert at the Ohio Theatre.  They had witnessed a variety of creative, well-executed, serendipitous dance numbers.

BODYTRAFFIC, a Los Angeles dance company founded by Lilian Barbeito and Tina Finkelman Berkett, transplanted New Yorkers, centers on “invention, attitude and urban edge.” 

The company members defy traditional dance body types and ages.  Usually, the mention of dancers engenders a vision of anorexic young females and zero-body fat/gym-toned bodied males.  Not so with BODYTRAFFIC.  This is a body-type blind company.  All ages, sizes and ethnicities are in the company.  A light as air moving male dances next to hulking brother probably ten years his junior.  A solid built female twists and twirls besides a delicate sister. 

Not only the body sizes and age differ, but the three-segment program at the beautifully refurbished Ohio Theatre showed the variance in the company’s repertoire.

Israeli choreographer Barak Marshal’s “And at midnight, the green bride floated through the village square…” told the “true story” of a family of eight sisters and one brother who were neighbors of his mother’s family in Aden, Yemen. 

Danced to Yiddish, Israeli, Sephardic, Ladino, Yemenite, Ashkenazik and gypsy music songs and sounds, the offering included solo and group precision dancing.  Using exaggerated melodramatic gestures and movements, the company energetically, often humorously, told a series of short tales of fighting, screaming, cursing, reconciliation that enacted the family’s rage, unhappiness and loneliness. 

“Once again, before you go,” choreographed by Victor Quijada, with music by Jasper Gahunia, used his b-boy background to fuzz movements from across the dance genres.  The program included acrobatic movements, interweaving of bodies, creative lifts, twisting and springing to create aesthetic pictures of emotions and feelings.

“O2Joy,” was the obvious audience favorite.  Combining the vocal and musical jazz sounds of Oscar Peterson, Billie Holiday, Ella Fitzgerald and Glenn Miller the company flowed through Richard Siegal’s creative choreography.  Highlight segments were “On the Sunny Side of the Street” and “All of Me.”  Guzman Rosado floated through air as he mesmerized the audience with his fluidity and ease.

Capsule Judgement: If you missed BODYTRAFFIC, fear not. Pam Young and her Dance Cleveland planners are sure to have a repeat performance of this marvelous and entertaining company!

UPCOMING DANCE CLEVELAND CONCERTS

Dance Theatre of Harlem, January 21, 2017--3 and 7:30 PM at Ohio Theatre
Jessica Lange Dance, March 4, 2017—7:30 PM at Ohio Theatre
Ballet Biarritz presents “Cinderella”—April 1, 2017 @ 7:30 PM and April 2, 2017 @ 3 PM at Ohio Theatre

Tickets:  216-991-9000 or dancecleveland.org

CLEVELAND BALLET

On January 27, 2017, A CELEBRATION OF DANCE AND MUISIC returns to the Hanna Theatre.  The program, a remounting of the company’s October 11, 2016 successful program, includes original dances choreographed by Artistic Director Gladisa Guadalupe and Ramon Thielen.

Tickets:  playhousesquare.org

CLEVELAND ORCHESTRA and PENNSYLVANIA BALLET, “The Nutcracker”

Two world class arts organizations combine to stage George Balanchine's “The Nutcracker,” the favorite holiday ballet.  Performed at the State Theatre in PlayhouseSquare:  November 30 through December 4.

Tickets and information: playhousesquare.org

A preview: DANCECleveland and Cain Park Co-Sponsor David Parsons Dance to Celebrate National Day of Dance

New York City based David Parsons Dance will kick off DANCECleveland’s 60th Anniversary Season with dancing for the whole family.  The summer performance, co–sponsored by DANCECleveland and Cain Park will
take place at Cain Park’s Evans Amphitheater on July 25 at 8 p.m.

Events on schedule for The National Day of Dance include picnic options,
wine tastings, free ballroom and line dance classes, and the chance to see local dance students perform before the show.

Advanced dancers over 16 years of age can participate in a free dance master class in the morning with David Parsons himself at 11 a.m. on the Evans Amphitheater stage. RSVP is required by emailing sarah@dancecleveland.org. Limited space is available.

Performance tickets range from $20- $25 and are now on sale at www.dancecleveland.org, or call 216-371-3000. Tickets can also be purchased in person at the Cain Park Ticket Office, or by visiting www.cainpark.com. Discounts for groups of five or more are also available by calling DANCECleveland at 216-991-9000. For more information on the David Parsons Dance, visit: http://www.parsonsdance.org

PILOBOLUS, Dance Cleveland’s gift to area aficionados; area dance previews

PILOBOLUS is noted for adding both physical and theatrical elements to dance presentations.  They have been credited, in their 44 years of performances, to have added a new way for audiences to look at dance.

Nothing cements the company’s unique style more then what was on display before the start of their recent State Theatre nearly-sold out concert.

Upon entering the auditorium, the audience found the proscenium curtain open and the dancers warming up.  It was a preparation not usually seen.  No barre work, stretching, or practicing of couple-lifts here.  Instead, the performers were doing jumping jacks, handstands, tossing each other around, running in undisciplined patterns, doing frog leaps, executing cartwheels, and doing pushups.  Just before curtain went up, they formed a football huddle, arms entwined behind each other’s backs, swayed, talked, laughed, broke the togetherness, and wandered off stage.  They were ready!  So was the keyed up audience.

The program featured five numbers, each of which varied in technique and effect.  Incorporating gymnastics, power strength movements, balancing on circular mini-platforms, combining sensual actions with whimsy and whirlwind with exquisite calm, the dancers created compelling art.

PILOBOLUS’s dances aren’t meant to convey a clear message.  They are often  abstract visions of actions which allow for personal interpretation.  Yet, they prresent well-disciplined and choreographed displays. 

The choreographers avoid gender roles.  Males and females share the heavy lifting and often are dressed in the same costumes.  The company’s performances integrate graphics, films, impressive lighting and special effects. 

Whether doing dance versions of the famous Tim Conway old man from his days on the Carol Burnett Variety Show, or taking on such serious topics as young love and it’s issues, they seamlessly weave together attention-sustaining actions.

As part of the program, the company challenged the audience to name their newest piece, presently entitled, UNTITLED 2015.  After viewing the door-slamming, body endangering number, my suggestion is ANGST!

There is no way to clearly recreate PILOBOLUS in words.  This is performance that must be seen. 

Capsule judgement: It can only be wished that Pam Young and her Dance Cleveland staff do not wait too long before they bring PILOBOLUS back to the area, so that those who missed their recent performance get a chance to experience the creativity and joy the company shared.

Side note:  Cudos to Donald Rosenberg for an excellent “Dance Matters” column in the program, which gave a wonderful preview of what was to be experienced by the audience.

Next up for Dance Cleveland, on, is, COMPAGNIE KÄFIG on March 7, 2015, 8 PM, Ohio Theatre, which combines Brazilian acrobatics and hip-hop dance.

DANCE OFFERINGS IN THE CLEVELAND AREA

The Cleveland area has some strong dance companies. How about going to local offerings? They need your support.  Some upcoming performances include:

Ohio Dance Theatre
6:00 pm Friday, February 13, 39 South Main Street, Oberlin
“Blood Stripe”—world premiere of a ballet inspired by a personal witnessing of the challenges of choreographer Denise Gula and her family as they struggled with the long term effects of PTSD and TBI (Traumatic Brain Injury).
Tickets: 440-774-6077

Groundworks
March 20 & 21, 2015, 7:30 PM
Breen Center, 2008 W. 30th Street, Cleveland
The Cleveland premier of two new works, one choreographed by Robert Moses and the other a collaboration with Aeolus Quartet. 
Tickets: http://groundworksdancetheater.ticketleap.com/groundworks-spring-series-at-breen-center/

Inlet Dance
April 23-25, 2015--CPT Danceworks '15
Tickets: http://www.cptonline.org/box-office/

Verb Ballets
“Ballet Uncorked”—guest appearance with Ohio Dance Theatre
6:00 pm Friday, February 13, 39 South Main Street, Oberlin
Tickets: 440-774-6077

February 21, 2015 at 8:00pm
Breen Center, 2008 W. 30th St., Cleveland

February 28, 2015 at 8:00pm
Olmsted Falls Performing Arts Center, 6941 Columbia Rd.. Olmsted Falls 
Tickets: olmstedperformingarts.com

March 21, 2015
NEOSonicFest, Baldwin Wallace, 96 Front St., Berea 
Tickets: neosonicfest.org

April 16-18, 2015 at 7:00pm 
Cleveland Public Theatre DanceWorks’15. 6415 Detroit Ave, Cleveland
Tickets:  cptonline.org or 216.631.2727 ext. 501

Previews and Quick Reviews: CWRU/CPH, Groundworks, KIBBUTZ CONTEMPORARY DANCE COMPANY, THE NUTCRACKER: Joffrey Ballet/Cleveland Orchestra

“Three Sisters” @ CWRU/CPH MFA Acting Program

Eight students are accepted each year to be part of the Case Western Reserve/Cleveland Play House MFA Acting Program.   The purpose of the program is to combine educational and professional theater experiences to prepare students for theatre careers.

Their latest production, staged in the Helen Theatre in the Allen Complex in PlayhouseSquare, was Anton Chekhov’s “The Three Sisters.” 

Chekhov was a Russian realist writer who is often referred to as the literary predictor of the twentieth century Russian Revolution.

“The Three Sisters” centers on the Prozorov sisters who relocated from their beloved Moscow to a provincial Russian town with their late father.  They wish to return to the refined life in Moscow, but fail to do so and their dreams recede further and further.
The production, under the direction of Ron Wilson, is slowly paced and thoughtful.  The acting is generally proficient.  Standouts in the cast are Nick Barbato as Andrei, the frustrated brother of the three sisters who was moving swiftly toward being a professor before he was wrenched from Moscow to live in the provinces,  Kathryn Metzger as Olga, is the matriarchal and spinster sister, Megan King as Masha, who is involved in a disappointing marriage, and Katie O. Solomon as Irina, the youngest sister, who believes her love is in Moscow and she must go there to find happiness. 
The images are nicely showcased in a fragmented set, enhanced by traditional Russian music, and era correct costumes.
The production runs through November 18, 2014.  For tickets call 216-241-6000 or www.clevelandplayhouse.com

The next performance by the CWRU/CPH MFA program will be Phillip Barry’s “The Philadelphia Story” from February 25th through March 7th, 2015 in the Helen.

GroundWorks Dance Theater, Fall Concert @ the Allen Theatre

Bannered as “imagination you can see,” GroundWorks dance has been critically celebrated as an “artistically significant” ensemble.  The company, which was founded in 1998, spreads its creative wings by performing in challenging settings including an ice house, cathedrals, libraries, outdoor venues, often with live musicians on stage.  In its 16 years it has commissioned 23 premiers from national and international choreographers, as well as 30 new works by its Artistic Director, David Shimotakahara, and 10 by Artistic Associate, Amy Miller.

Earlier this fall the company presented its third annual concert series at the Allen Theatre in partnership with Cleveland State University as its professional dance company in residence.

The nicely balanced program introduced GroundWorks newest company member, Troy Macklin, a welcome addition.  His youth and dynamisms fit well with the precision, athleticism and discipline demanded by Shimotakahara.

The program included “Always” choreographed by Gina Gibney to the music of Patsy Cline, centering on story telling, often about relationships.  The pulse and rhythms of the music were well integrated into the movements.  The second offering was the world premiere of “wait. now. go now.” by choreographer Johannes Wieland, which combined theatre and dance centering on how others see us and we see ourselves.   The concluding piece, “CoDa,” choreographed by Ronen Koresh, was a display of high level emotions, which featured the concept of focus as illustrated by strong physical and static movements.

GroundWorks next public presentations, The Winter/Spring Concert will be March 5 & 6 at EJThomas Hall in Akron and March 20 & 21 at The Breen Center,
2008 West 30th Street, Cleveland.

KIBBUTZ CONTEMPORARY DANCE COMPANY

A joint production of the Cleveland-Israel Arts Connection, The Jewish Federation of Cleveland and Dance Cleveland, the Kibbutz Contemporary Dance Company, presented “If At All,” choreographed by Rami Be’er, at the Ohio Theatre.

The 65-minute piece, presented without intermission, was a dance/theatrical piece which centered on interpersonal relationships by using literal and abstract movements, mainly the forming and breaking of circles.  The constant motion, and the expanding and contracting physical space, created a feeling of the altering dynamic of individuals and groups sometimes interacting, sometimes being static, other times being alone.

Though the choreography was often repetitive, the overall effect was positive. The well trained and disciplined dancers, especially, the males, were dynamic in their explosive movements. 

Dance Cleveland’s next offering is the creative Pilobolus (http://www.pilobolus.com/) on Saturday, January 31 @ 8 PM in the State Theatre.  For tickets, which run $20-55, call 216-241-6000 or go on line to www.playhousesquare.org

THE NUTCRACKER:  JOFFREY BALLET AND CLEVELAND ORCHESTRA

The holiday season is upon us and nothing seems to signal it more clearly than a performance of “The Nutcracker.”  And what could be more exciting than hearing Tchaikovsky’s distinctive score, being performed by The Cleveland Orchestra, one of the world’s great musical assemblages, and danced by the famous Joffrey Ballet?   Great music, choreographic excellent, brilliant costumes, larger than life scenery, all showcased in a tale for all times.

When?  November 26-30, 2014.  Tickets:  $20-99.  Where:  State Theatre in PlayhouseSquare. 

Please note:  Children under two years of age are not permitted.  Everyone, no matter their age, must have a ticket and be seated with an adult.

For tickets call 216-241-6000 or go to www.playhousesquare.org

Superb Aspen Santa Fe Ballet excites audience at E. J. Thomas Hall

Dance Cleveland opened its 59th season in spectacular style with a performance of the Aspen Santa Fe Ballet at E. J. Thomas Hall, on the University of Akron Campus.  The company, which was founded in 1996, has two official schools, one in Aspen, one in Santa Fe, and a year-round Mexican outreach program.

The huge audience, which filled the orchestra section of the auditorium, was enthralled by the eleven person company’s creativity and discipline.  They lived up to their advanced billing for adventurous dancing.  The style has been credited with “epitomizing the contemporary-classic genre.”

The program opened with “Over Glow,” choreographed by Jorma Elo, and performed to music by Felix Mendelssohn and Ludwig van Beethoven.  The composition was danced with precision, with three male clones and three females who could have been triplets in physical style and appearance.  The dynamic music was perfectly paralleled in mood and temperament by Elo’s dance designs. 

Combining classical ballet moves with modern movements, the body shifts, freezes, lifts, running, slides, spins, and jumps were a master class in combining the two styles.  The finely gym toned bodies of the dancers created enthralling visual and emotional pictures.

If “Over Glow” had been the sole offering on the program, the audience would have been satisfied, but it was only the appetizer.

“Return to a Strange Land,” set to four emotional pieces by Czech composer Leoš Janáček, and choreographed by Jiří Kylián, Czech contemporary dance choreographer, explored the limitations and capabilities of space, body parts, entrances, exits, and contrasts, with some humorous overtones.  The distinctive movements, which incorporated dancers running and sliding across the floor, combined classical ballet and modern dance.  With overtones of sadness and longing, the overarching feeling was that of hope.  

“Square None” was choreographed by Norbert De La Cruz III, a young Filipino-American.  Still in his twenties, the Julliard School graduate is noted for his creation of inventive and haunting characters.  Accented by creative lighting, the dancers thrust their limbs in and out of the squares of lights, parts of their bodies often seeming to disappear.  Constantly changing from intertwining patterns, to unison solo dancing, the performers seemed to be playing a game in which the musical notes set the pattern and tone for point and counter-point movements.   The overall effect was an audience-pleasing experience.

Capsule judgement:  Pam Young, executive director of Dance Cleveland has done it again.  Young has the ability to find dance companies that entertain and delight audiences.  Her selection of Aspen Santa Fe Ballet futher confirms her grasp of the national and international dance scene and makes sure that Cleveland area audiences experience the best.

Next presentation by Dance Cleveland is the Kibbutz Contemporary Dance Company, presented through the sponsorship of the Cleveland Israel Arts Connection, a program of the Jewish Federation of Cleveland, on Saturday, November 8 @ 8 PM and Sunday, November 9 @3 PM at the Ohio Theatre.

 
Mark Morris Dance…a contrast of two acts @ Palace

An interesting audience reaction greeted the two acts of the recent Mark Morris Dance Company’s near sold-out performance at the Palace Theatre.  Overheard comments at intermission of the performance cosponsored by Dance Cleveland, PlayhouseSquare, and Cleveland State University, were statements such as, “That was great.”  “I never knew dance could be such fun.”  “Morris is really creative.”  Unfortunately, after the second act there was general silence as the large audience left the Palace theatre. 

Why were there different reactions?

The opening act consisted of two Morris choreographed pieces, CANONIC  ¾ STUDIES and FESTIVAL DANCE.

Mark Morris once said, “I like to see people working together.  What we call a giant solo in my company is about four bars long while twenty other people  are doing something.   Noted for combining modern dance, folk dance, traditional ballet and opera, he often combines simple steps into an intricate set of rhythmic movements.

CANONIC ¾ STUDIES, typical of Morris at his delightful best, showcased the dancers jumping, frolicking, falling, crawling, twirling, and prancing in perfect time to the sprightly “Piano Waltzes” arranged by Harriet Cavalli.   There was a youthful, playful innovation to the work which enthralled the audience.   The piece was danced to the well played live piano sounds of Colin Fowler.

Set to Johann Nepomuk Hummel’s “Piano Trio no. 5 in E Major, Op. 83,” FESTIVAL DANCE highlighted Morris’s love of European folk dance.   The well performed live accompaniment by Cyrus Beraukhim (violin), Andrew Janss (cello) and Colin Fowler (piano) added to the joyousness of the performance.

The three segments, WALTZ, MARCH, and POLKA each contained many traditional movements including foot slapping, line dancing, czardas prancing, galloping, and partner switching.  As with the opening number the conclusion was met with applause and whoops of joy.

Morris has been involved with opera for over 20 years, directing and choreographing productions for the likes of The Metropolitan Opera, New York City  Opera, and The Royal Opera of Covent Garden.

The long second act, which showcased Morris’s operatic ties, was met with less enthusiasm.  The long operatic ballet,  SOCRATES, was set to three movements of Erik Satie’s suite, “Socrate.” 

As tenor Zach Finkelstein proficiently sang in French, accompanied by Colin Fowler at the piano,  dancers, dressed as traditional Greek statues, enacted segments of the Greek free-will philosopher’s  life, concluding with his imposed death.

As Finkelstein sang, the words were translated into English on a smallish screen near the top of the Palace Theatre’s huge proscenium arch.  It was impossible to read the translations and watch the dancers far below, causing a definite disconnect.  To add to the disconnect, the actions on stage, though well danced,  did not enact the story line.   As one audience member said, “After a while I just gave up on reading and watched the dancers, but that didn’t help as I couldn’t figure out the story.”  Muted applause greeted the final curtain.

Capsule judgement:  Mark Morris Dance Group’s first Cleveland appearance in five years was a mixed bag.  After pleasing the audience with a delightful first act, the tone switched drastically in the second half, which though well presented, was tedious. 

Next up for Dance Cleveland, on May 2, 3 and 4 at the Allen Theatre, is LUCKY PLUSH, billed as ”One of the most accessible exercises in modern dance you’ll ever see.” 

Fraulein Maria (Doug Elkins and Friends)

Doug Elkins and Friends delight in ‘THE SOUND OF MUSIC’ take-off

As evidenced by ‘FRÄULEIN MARIA,’ his take-off of the musical THE SOUND OF MUSIC, which was recently presented by DanceCleveland at the Hanna Theatre, Doug Elkins may well be the crown prince of comic dance choreography.


THE SOUND OF MUSIC is a stage musical based loosely on the von Trapp family who escaped Europe at the onset of World War II after being harassed by the Nazis. The musical is inspirational, fairly serious and contains Rogers and Hammerstein’s usual social message of what it means to be part of a community.


Elkins in noted for deconstructing and then reconstructing concepts. THE SOUND OF MUSIC is a perfect vehicle for him, for, in fact, the musical is about the various phases of construction. Maria, flees to the abbey in order to escape from her life and build a new persona. When she comes to the von Trapp she takes on a dysfunctional family, deconstructs it and then makes it anew. The same process happens when the family flees Austria to come to America.



You’ve seen the movie? You’ve seen the play? Now, picture the goings-on as envisioned by Elkins.

“Let’s start at the very beginning, a very good place to start.” You think attending a dance concert is a passive experience? Not in Elkins’ creative hands. You will--yes, you will--take part by singing “Do-Re-Mi,” in three-part harmony.



The dance, itself, is introduced by Richard Rogers. Well, it’s a spotlight on the center of the stage which represents the song writer and is supplemented by a tape recording of the great man, who probably rolls over in his grave every time Elkins and Friends does a take off on his beloved musical score.



Since the story takes place in the hills of Austria, we need hills. These are created by dancers encased in and waving green and tan strips of fabric. A snow-capped mountain is formed by Elkins (who not only choreographed the performance but dances in it as well) leaping off the stage, snatching a white shawl off the shoulders of a woman in the front row, running back onto the stage and tossing it on top of one of the hills. Voila, snow! This is done while hip hop, classical ballet, contemporary and modern dance, martial arts moves and improvised maneuvers are exploding on stage to the entire score from the musical.



Then there is Maria, the singing nun turned nanny, turned dressmaker, turned mommy, who is simultaneously performed by three dancers, one a male, of course, in a dress.



Elkins is not your usual run of the mill choreographer. He started his performance life as a B-boy, a break dancer who toured the world with groups like the New York Dance Express and Magnificent Force. And, with that background, as you watch the madcap antics on stage, you will surely note that his work is inventive, eccentric and compelling.”



Even Elkins’ choice of dancers is not traditional. While most dance companies go for thin woman and muscle toned males, Elkins favors sturdy, often fleshy men and women, with lots of power. There's nothing exotic, about this company, but, they are talented. And, as can be expected, their backgrounds don’t fit the usual company description.

Even the curtain call was fun.



Capsule judgement: . ‘FRÄULEIN MARIA’ was an evening of dance not to be missed! Too bad Elkins has announced that this is the last go around for this program. No, no, say it isn’t so. Let’s hope that Pam Young, Executive Director of DanceCleveland, can convince Elkins to change his mind and bring the production back again and again.

Ballet Memphis

Delightful BALLET MEMPHIS

Memphis emphatically basically moved to the Cleveland area this month. PlayhouseSquare presented the Broadway smash MEMPHIS, THE MUSICAL at the Palace Theatre to large and enthusiastic audiences. Then, DANCECleveland brought BALLET MEMPHIS to town for what turned out to be a delightful evening of ballet at the Ohio Theatre. The large appreciative audience experienced an honest performance by some fine young dancers.

BALLET MEMPHIS is a mid-sized dance company noted for performing full-length story pieces. No, it is not a world class company. However, their young and enthusiastic dancers were up to the task of telling the tales and showing off their city’s culture and historical base: being the hometown of Elvis, performing as a major influencer of rock-and-roll, housing the famous Beale Street, hosting the slave markets and civil rights battles, and where Dr. Martin Luther King, Jr. was assassinated.

The program consisted of BEING HERE WITH OTHER PEOPLE, danced to the classical music sounds of Beethoven’s Concerto in D Major for Violin and Orchestra, Op. 6, which stressed the natural capacity of people to experience joy. CURTAIN OF GREEN, danced to the atonal music of Phillip Glass, was an interpretation of southern icon writer Eudora Welty’s short story, which is a glimpse of love, fear, and madness. S'epanouir centered on a woman who was in the depths of an emotional crisis until her community aids and lifted her to a transformation.
The program ended with IN DREAMS, performed to a grouping of passionate Roy Orbison songs.

Capsule judgement: With no professional ballet company in Cleveland, it was a nice diversion to see the balletic dance form presented by BALLET MEMPHIS in what turned out to be a very pleasant program.

Inbal Pinto and Avshalom Pollak Dance Company

Israeli dance troupe captivates audience

When Pam Young, the Executive Director of Dance Cleveland, went to Tel Aviv, Israel to attend the International Exposure in Dance, she had an ulterior motive. Young was looking for companies for future programs. There were 40 dance troupes from 30 countries present. Young was drawn to Inbal Pinto and Avshalom Pollak Dance Company, an Israeli group. She set her sights on bringing them to Cleveland. Young not only succeeded in getting them to come, but to open their 2012 United States tour at Playhouse Square’s Ohio Theatre.

Besides Dance Cleveland’s usual corporate sponsors, the logistics of bringing in the troupe was provided by the newly formed Cleveland Israel Arts Connection, Jewish Federation of Cleveland, Mandel Jewish Community Center of Cleveland, and the Maltz Museum of Jewish Heritage.

An Israeli dance troupe. That translates to Klemzer and cantorial music and Sephardic and Ashkenazi folk dances. Right? Wrong!

The Inbal Pinto and Avshalom Pollak Dance Company blew away the capacity audience with the one-act, hour-long production of OYSTER, an ingenious creation which gives the illusion of a circus-world of wandering street people whose intimate artistic vision speaks of truths.

The full-length work is filled with dreamlike qualities which reminds the viewer of the works of Fellini and Tim Burton. It is set to the music of Piazzola, Leoncavallo, Harry James, Yma Sumac and the Tuvan throat singers. The latter is a variant of overtone singing practiced by the Tuva people of southern Siberia. The effect is mesmerizing and lends itself to an almost mystic-like involvement.

The troupe has 13 dancers who range in age from very young to 75 years of age, and are of diverse nationalities and backgrounds.

OYSTER is a series of scenes which are done with amazing fluidity. The movements require great physical control. It is both dramatic and comedic. According to the choreographers, the presentation is constantly being updated through rehearsal, performance, polishing and cast changes.

It’s almost impossible to give a blow-by-blow description of OYSTER as it contains ballet, modern dance, gymnastics, mime, acrobatics, flying figures, illusion, dramatic lighting effects, shadow movements, and the unexpected, all blending into a fascinating whole.

The printed program contained a column entitled Dance Matters by former Plain Dealer dance critic Wilma Salisbury. It was an interesting discussion, not only of Pinto/Pollack, but of why dance is important.

Capsule judgement: It’s too bad that the Inbal Pinto and Avshalom Pollak Dance Company was only at the Allen for two performances. The positive word of mouth would have sold out many, many concerts. Let’s hope that Dance Cleveland brings the company back…sooner, rather than later.

RIOULT

The creative RIOULT Company, which was brought to the area in a co-sponsorship between DANCECleveland and Playhouse Square, recently performed at the Ohio Theatre. Anyone who missed the program missed an awesome evening of dance.

Choreographer Pascal Rioult challenges his dancers to high levels of creativity. The program opened with VIEW OF THE FLEETING WORLD, based on Bach’s The Arts of Fugue. The nine-part piece was accented by Monet type illusions and mood altering lighting.

WIEN, danced to the music of Maurice Ravel’s LaValse, is a visual message created by swirling bodies which transcends from beautiful waltz to chaotic violence and humiliation, complete with despair and fatalism. It is a visual image of bizarre dance movements which symbolized triumphant evil. The overall effect was riveting!

Ravel’s BOLERO, an exercise in building a crescendo by repeating musical sounds and movements over and over, creates an increasing emotional pitch. The music is a four-phrase theme which mesmerizes. By repeating and altering, the choreographer creates visual images, builds anticipation and then breaks the pattern, with jarring results!

Les Ballets Trockadero de Monte Carlo

Trocks: Men en pointe delight audience at Ohio Theatre

A sold out, standing room only audience displayed abandoned delight, complete with “bravos” and much applause, at the January 29 performance of LES BALLETS TROCKADERO de MONTE CARLO, lovingly called by their many admirers, The Trocks. The program was sponosored by DANCECleveland and Cuyahoga County Community College.

What was all the shouting about? On the surface, men were dancing in tutus, en pointe, many portraying roles such as the Swan in SWAN LAKE, traditionally reserved for women. Sound like a device to get people into the theatre? It is. But these are not guys who just spoof and do pratfalls. This is an international troupe of well trained ballet dancers who have added to the usual male role in ballet of being partners who carry the females around, are given a few minutes of solo circle leaps and a few bravado movements. They are ballet dancers who have wonderful senses of comic timing and an ingenious choreographer. This is the company that the New York Times dance reviewer terms, “Partly Goofy, Part Glorious, All Man.” I might add, “Totally audience pleasing.”

Les Ballets Trockadero de Monte Carlo is an all-male ballet corps which parodies the conventions and clichés of romantic and classical ballet. It has been around since 1974 and has toured the world to great accolades.

The troupe, which last appeared in the area around fifteen years ago, opened their program with SWAN LAKE, ACT II, danced to the music of Tchaikovsky. This, their signature piece, tells the story of a beautiful princess, turned into a swan by an evil sorcerer, who is saved by the love of a prince. It's probably the world's best known ballet. But, if you haven't seen the Trocks version, you haven't seen SWAN LAKE. Consisting of beautiful toe work, fine partnering, glorious costumes, a princess with facial stubble, pratfalls and comic interactions between the dancers, the audience transitioned between “bravos” and hysterics.

PATTERNS IN SPACE was a “post modern dance movement essay” in which three mismatched dancers tried their best to hold the audience's attention with creative movements, while competing for attention with two nerdy “musicians” who played the underscoring with paper bags, kazoos, bubble wrap, and pots and pans. It was Spike Jones meets classic dance, with Jones, in the form of “musicians” Lariska Dumbchenko and Yuri Smirnov winning. (All of the dancers have “Russian” as well as their traditional names. The Soviet designators are all plays on words, such as Legupski, Paranova, Thickenthighya, Enimenimynimova and Ida Nevasayneva.)

LE GRAND PAS DE QUATRE found four dancers in constant competition to upstage each other. Danced completely en pointe, the ability of dancers was only eclipsed by their ability to get outlandish attention.

A quick version of THE DYING SWAN, complete with a molting bird who kept losing its feathers while displaying the pangs of death, made the death more fun than tragic. Those who have seen the Academy Award nominated movie THE BLACK SWAN, could only shake their heads and realize what a beautiful piece this could be when danced correctly. Beautiful, but not as much fun.

RAYMONDA'S WEDDING was a “traditionally confusing divertissement in two scenes,” highlighted by a plot which “loses something in translation.” Danced in classic ballet form, though the uneven story line “has baffled audiences since its premiere in 1898,” it was visually attractive and, as most of the program, filled with wonderful laugh sequences. The “women” were all taller than their partners, causing visual illusions of tiny men lifting gigantic women. (Many of the “females” were well over 6 and a half feet tall in their pointe shoes.)

Capsule judgement: “This was the whole package,” “What fun,” “My goodness, they are really good dancers,” and “I hope we don't have to wait another fifteen years to get them back!” These were comments made by the delighted dance concert-goers after the performance of LES BALLETS TROCKADERO DE MONTE CARLO. I definitely agree!

Dance (Verb), Dance (Groundworks), Dance (Aspen Santa Fe Ballet)

DANCE (Verbs), DANCE (Groundworks), DANCE (Aspen Santa Fe Ballet)

There’s been a lot of dancing going on in Cleveland, with a lot more to come.

VERB BALLETS’ ‘HOMEGROWN” leads to audience enjoyment

Verb Ballets, performing before a Sunday afternoon family audience at the new Breen Center, on the campus of St. Ignatius High School, went back into their repertoire and pulled out some of their most audience friendly pieces. No premiers here, just tried and true pleasers.

The well selected program included an opening mini-lecture by Dr. Margaret Carlson, the company’s Chief Executive Officer and Artistic Officer, who gave a capsule summary of each piece. It was an excellent device for this audience, who, it appears, were mostly dance neophytes.

‘LADY BE GOOD,’ a ballroom theatre piece, was a reminder of the new rage of dance shows on TV. The jazz and scat music of George Gershwin was well interpreted by choreographer Gary Pierce, and the dancers.

‘LE CORSAIRE PAS DE DEUX’ exposed the audience to classical ballet. Beautifully performed by Brian Murphy and Jennifer Moll Safanovs, its highlights included excellent toe work, proficient leaps, strong coupling, and sprightly music and movement.

The music to ‘SPEED, THE ICARUS PROJECT’ brought squeals of delight from the children in the audience, familiar with the character of Speed Racer. A little static in movement, complete with some stumbles by Antwon Duncan, the piece did not hold the same fun power as previous enactments by the company. Katie Gnagy and Danielle Brickman were fine as the Wings.

‘VESPERS,’ with music by Mikel Rouse, was a visual enactment of passion and spirituality. The dancers stood and sat on, moved under, crawled beneath, and used chairs as the center point for their emotional feelings. A tribute to Martin Luther King, Ulysses Dove’s intricate choreography, as restaged by Dawn Carter, was filled with symbolism. This is one of the company’s signature pieces, and justifiably so.

The program ended with Pamela Pribisco’s ‘PETER AND THE WOLF. It was charmingly danced to the music of Sergei Prokofiev. The children in the audience verbally reacted to the familiar story and actions.

Verb’s next offering will be ‘CLEVELAND COMPOSERS, CLEVELAND CHOREOGRAPHERS, which is part of Dance Works 2020 at Cleveland Public Theatre from April 8 to the 11th. For information go to cptonline.org or call 216-631-2727.

GROUNDWORKS presents world premiere as part of Breen Center program

The Breen Center was the home to Groundworks DanceTheatre’s most recent concert. Made up of three pieces, the program again highlighted the uniform dancing excellence of the company. The six company members were nearly flawless in interpreting the works of three different choreographers.

‘POLARITY,’ staged by David Shimotakahara to atonal music composed and recorded by Gustavo Aguilar, created an abstract work centering on the internal and external impulses and forces of the performers. Though a little long, the dancers, dressed in striking orange costumes, used angular body moves, straight and bent arms and intertwining of bodies to create visual images of connections and disconnections of thought and action. Highlights of the piece included a mesmerizing solo by Kelly Brunk, who has developed into a premiere dancer since he joined the company 2008, and a duet coupling Brunk and powerhouse Amy Miller.

‘DELAYED,’ another abstract piece, was performed to the atonal sounds of Terry Riley. Supposedly developed as a movement piece which created a distinctive dance vocabulary. The dancing was well performed, but the repetition of movement and theme became somewhat tedious.

‘JUST YESTERDAY’ was an unusual piece for Danceworks. A combination of speaking, singing and dancing, with an excellent concept, some of the impact was lost because the vocalizations by the dancers were not always easy to hear. Too bad there wasn’t a way to individually mic the performers. The general idea came across, but with better audio, the effect could have been greater. Choreographer Dianne McIntyre did an excellent job of creating movement to parallel to the recollection and lasting family impressions of the dancers.

A benefit for Groundworks will be held on Saturday, March 13, at Windows on the River. The company will at the Philomethian Center in Chagrin Falls on February 20 at 8 p.m. and will be at the Cleveland Play House as part of Fusion Fest from April 22 to the 25th. For information go to www.groundworksdance.org or call 216-691-3180.

ASPEN SANTA FE BALLET to perform at the Ohio Theatre

Dance Cleveland and Playhouse Square Center presents the ASPEN SANTA FE BALLET on Saturday, February 27 at 8 PM and Sunday, February 28 at the Ohio Theatre. This fresh young company has established itself as one of America's leading contemporary ballet companies with their eclectic repertoire, musicality, athleticism and all-out dancing. For tickets and information call 216-241-6000 or go to playhousesquare.org.

FRÄULEIN MARIA

Doug Elkins and Friends delight in ‘THE SOUND OF MUSIC’ take-off

As evidenced by ‘FRÄULEIN MARIA,’ his take-off of the musical ‘THE SOUND OF MUSIC,’ which was recently presented by DanceCleveland at the Hanna Theatre, Doug Elkins may well be the crown prince of comic dance choreography.

‘THE SOUND OF MUSIC’ is a stage musical based losely on the von Trapp family who escaped Europe at the onset of World War II after being harasssed by the Nazis. The musical is inspirational, farily serious and contains Rogers and Hammerstein’s usual social message of the better way to live.

Now, picture the goings-on as envisioned by Elkins.

The evening is introduced by Richard Rogers. Well, its a spotlight on the center of the stage which represents the song wirter and is supplemented by a tape recording of the great man, who probably rolls over in his grave every time Elkins and Friends does a take off on his beloved musical score.

Since the story takes place in the hills of Austria, we need hills. These are created by dancers encased in and waving green and tan strips of fabric. A snow capped mountain is formed by Elkins (who not only choreographed the performance but dances in it as well) leaping off the stage, snatching a white shawl off the shoulders of a woman in the front row, running back onto the stage and tossing it on top of one of the hills. This is done while hip hop, classical ballet, contemporary and modern dance, martial arts moves and improvised maneuvers are exploding on stage to the entire score from the musical.

Then there is Maria the singing nun turned nanny, turned dressmaker, turned mommy, who is simultaneously performed by three different dancers, one an African American male.

You think attending a dance concert is a passive experience? Not in Elkins’ creative hands. You will--yes, you will--take part by singing “Do-Re-Mi,” in three-part harmony, lead by Elkins, himself.

Elkins is not your usual run of the mill choreographer. He started his performance life as a B-boy. A break dancer who toured the world with groups like the New York Dance Express and Magnificent Force. And, with that background, as you watch the madcap antics on stage, you will surely note that his work is inventive, eccentric and compelling.”

Even Elkins choice of dancers is not traditional. While most dance companies go for thin woman and muscle toned males, Elkins favors sturdy, often fleshy men and women, with lots of power. There's nothing exotic, about this company, but, they are talented. And, as can be expected, their backgrounds don’t fit the usual company description. One of the males just started dance training in January. He’s a gymnast and martial arts expert.

The company is reinforced by local professionals who were chosen via a tryout. They are Kelly Michael Brunk from Groundworks, Ellen Ressler Hoffman of Repertory Project and Footpath Dance, Amy Miller, Groundworks, Rebecca Nicklos, MegLousie Dance and Morrison Dance and Marie Zvosec, Ohio Dance Theatre. They perform in a fantastic hip-hop segment set to “Climb Every Mountain.”

Even the curtain call was fun.

Capsule judgement: . ‘FRÄULEIN MARIA’ was an evening of dance not to be missed! Too bad Elkins only performed twice because word of mouth would have filled additional stagings. Let’s hope that Pam Young, Executive Director of DanceCleveland, brings Elkins back in the very near future.

Joffrey Ballet

Joffrey Ballet, Cleveland Orchestra and Blossom….a wonderful blend!

Combine the world class Joffrey Ballet, with the world renowned Cleveland Orchestra, and place them in the lush Blossom Center on a crisp August evening. The results? A very special experience.

Blossom Music Center has hosted such ballet luminaries as Nureyev, Baryshnikov, New York City Ballet, San Francisco Ballet and the Vienna State Opera Ballet. But that was in the 60s, 70s and 80s. Most recently, the Blossom stage has been void of dance. Now, thanks to DANCECleveland, the Heinz Poll Summer Dance Festival and the University of Akron, for two performances, the stage was alight with marvelous dancing, the orchestra pit filled with the Cleveland Orchestra, and the large audience treated to the best of the best.

The program consisted of five selections of various moods and lengths. The opening number, ‘KETTENTANZ,’ was a chain dance set to the music of Johann Strauss Sr. and Johann Mayer. Combining classical movement with waltzes, gallops and polkas, the company was sprightly in showcasing various dancers in the nine pieces. The highlights were “Kettenbrück Waltz” performed by Jonathan Dummar and Victoria Jaiani, “Eisele und Beisele Sprüng,’ highlighted by the dancing of the delightful and adorable Anastacia Holden, “Schnofler Tanz,” with excellent toe work by Christine Rocas, and “Chachucha Galop” featuring fine parallel dancing by April Daly and Victoria Jaiani. In all segments, the dancers were proficient, movements perfectly timed to the musical alterations, and performer synchronizations well coordinated. Time flowed by during the thirty-two minute charming and challenging piece.

Alexander Calder developed an art movement centering on Moving Objects Behaving In Linear Equiposie, known to many as mobiles (using the first letter of his apt description). Choreographer Tomm Ruud used the Calder image to create his piece, ‘MOBILE.’ Interrupted by constant applause and sighs of “ohs” and “ahs,” Caitlin Meighan, Tiani Shuai and Abigail Simon awed the audience with their strength and fluidity. It was a study in body control and skill. Jack Hehler’s lighting added to the effect by casting shadow movements onto the back and side walls of the stage, creating a constant moving mobile of bodies and shadows. This was a show highlight!


‘CLOVEN KINGDOM,’ as choreographed by Paul Taylor, pictured man as a civilized social animal who also has the natural instincts of a wild beast. Danced to a baroque score, contrasted with contemporary percussive music, the dual level dance actions paralleled the dual musical sounds. Civilized and primitive, the dancers walked and stalked, and were elegant and animalistic. Though overly long, the point-counter point of the movements was effective in developing the conceiver’s intent. The male dancers were extremely effective in this selection.

Choreographed by Gerald Arpino to the music of Gustav Mahler, ‘ROUND OF ANGELS’ was lovely and soothing. The image of two central figures (Victoria Jaini and Thomas Nicholas) surrounded by five men representing broken-winged angels, created a strong depth of feeling. Only twelve minutes in length, the emotional sound of the music, coupled with the heartfelt movement of the dancers, made this a very special piece of dance telling the story of the depth of loss.

Rodgers and Hammerstein’s ‘CAROUSEL’ is one of the great pieces of musical theatre. Choreographer Christopher Wheeldon decided to develop a balladic piece as a tribute to Rodgers. Using the “Carousel Waltz” music from the play, combining it with other music from the show, mainly “If I Loved You” and “The Soliloquy,” Wheeldon tried to recreate the entire storyline in an abbreviated time. Though the visual effects were excellent, especially the recreation of a moving carousel, using the bodies of the dancers and some poles, the overall effect was somewhat lacking. Unless you could insert the necessary “rest of the story,” the heartbreak of the tale was not present. Part of the problem, was Fabrice Calmels unemotional Billy. He did not give the needed tortured feelings that drive Billy to his reactions to falling in love and making life changing decisions. April Daly was lovely as Julie.

Assistant conductor Tito Munoz and the Cleveland Orchestra moved through the music with precision and the needed variances, allowing the dancers to create the needed illusions. It was a fine melding of two art forms into a cohesive whole.

Capsule judgement: What a wonderful night! We can only hope that the forces that brought the Joffrey and the Cleveland Orchestra together will take swift action to make dance a regular part of future Blossom seasons.

Ballet Hispanico, Merce Cunningham Dance Companies

BALLET HISPANICO, MERCE CUNNINGHAM

One of the problems in having touring dance companies come into the Cleveland area is that they perform only one of two days. Reviews mean little for locals as the companies may not return for years, or ever again. But, for the record, it’s interesting to give picture snap-shots of the various companies’ performances.

BALLET HISPANICO

Dancing before three sold-out performance audiences, BALLET HISPANICO, whose appearance was co-sponsored by DanceCleveland and Cuyahoga Community College, presented a mixed-bag program. Pieces varied from traditional Hispanic dance, including the mambo, cha cha cha, bolero, rhumba and conga, to modern and contemporary pieces.

Those coming to the programs expecting folkloric presentations of dancers in traditional costumes were probably disappointed. Those knowing the reputation of this world class company got what they expected, a combination of Hispanic sounds and movements blended with balletic and contemporary moves.

The highlight of the program was the closing piece, ‘RITMO Y RUIDO,’ a contemporary number choreographed by Ann Reinking, a protégé of Broadway choreographer Bob Fosse. Known for her appearances in ‘PIPPIN,’ ‘CHORUS LINE’ and the movie ‘ALL THAT JAZZ,’ Reinking is as dynamic a conceiver of dance as she was a performer. Many of her moves are patented Fosse. Quick hand and head movements, pelvic thrusts, gymnastic moves were combined in ‘RITO Y RUIDO,’ with traditional Hispanic steps and body positions, to create an exciting and audience-pleasing dance.

The rest of the program was not as successful as the Reinking piece. Though generally well danced, there were lapses in synchronized movements and the pieces often were not dynamic enough to hold the audience’s attention.

CAPSULE JUDGEMENT: Those who left the Ballet Hispanico program after the first two-thirds of the program, and, unfortunately, there were quite a few at the Friday night offering, missed out on ‘RITMO Y RUIDO,’ the highlight of the evening.

MERCE CUNNINGHAM DANCE COMPANY

Merce Cunningham is a dance legend. His choreography and dance programs are either revered or hated by both critics and audiences alike.

Very contemporary in intent, the pieces are often danced to atonal sounds which defy the description of “music.’ Many audience members were seen at the company’s late January Cleveland performance, with fingers firmly thrust into their ears during much of the program. In fact, for the last number, ‘SOUNDANCE,’ Dance Cleveland, the show’s sponsor, provided foam ear plugs for the attendees.

Cunningham’s choreography features precision combined with randomness. They are static, non-story pieces, with posing, slow and controlled movements, and the melding of bodies. After a while, the whole experience results in tediousness, at least in their local program.

To really appreciate Cunningham, it is necessary to let loose of traditional understanding of the movements of dance and literally “tune out” and let what happens happen. He proclaims to be an inducer of meditation. But, but how does one meditate when the ears are being accosted by a combined cacophony of screeching sounds of lawnmowers melded with motorcycle engines being amplified to piercing ear shattering tones?

CAPSULE JUDGEMENT: I found myself, during the MERCE CUNNINGHAM COMPANY dance concert, thinking like the patron of an art show looking at a palate of a black on black painting, and asking myself “what is the positive shouting all about?” I need to feel some pleasure during an artistic experience, not thinking that I need to get an appointment to have my audiologist daughter check my hearing for potential injury due to the sounds of the program.

2009 Dance Preview

Area dance presentations: Merce Cunningham, Verb Ballets, Ballet Hispanico,

Arts patrons will be happy to know that dance returns to the area with two internationally recognized companies and the “reconstituted” Verb Ballets. Presentations include:

MERCE CUNNINGHAM DANCE

Returning to Cleveland after 23 years, the Merce Cunningham Dance Company takes the stage on Saturday, January 31, 2009 at 8 p.m. at the Ohio Theatre.

Considered “the world’s greatest living choreographer,” American modern dance icon Merce Cunningham shows his remarkable genius with every performance of his company. Included is the highly lauded 1970s work, Second Hand, which advanced his reputation for exploring the relationship between dance and music through collaborations with contemporary visual artists and musicians. This influential work features costumes by renowned visual artist Jasper Johns and a score by John Cage, Cunningham’s longtime collaborator and close artistic colleague.

Admission to the performance ranges from $25 to $60. For tickets call 216-241-6000 or go online to playhousesquare.org or DANCECleveland.org. To purchase tickets as part of a subscription package for VIVA & Gala Around Town, contact the Cleveland Museum of Art’s Box Office at 800-CMA-0033 or online at Clevelandart.org.


VERB BALLETS

On Saturday, February 7, 2009, Verb Ballets performs at Chagrin Falls High School, in the beautiful new Performing Arts Center. The family-friendly program includes Pamela Pribisco’s Peter and the Wolf; Ulysses Dove's Vespers; Hernando Cortez’s Darkwood; and two works by famed Ohio Ballet founder Heinz Poll: Duet, a romantic pas de deux, and the propulsive, captivating Bolero.

Verb Ballets’ company of dancers includes Danielle Brickman, Ashley Cohen, Katie Gnagy, Michael Medcalf, Catherine Meredith Lambert, Erin Conway Lewis, Brian Murphy, and Anna Roberts.

Tickets are $20 for adults and $5 for students, and are available by calling the Chagrin Valley Little Theatre box office at 440-247-8955 or by visiting www.chagrinfoundation.org.


BALLET HISPANICO

Acclaimed New York City-based Ballet Hispanico comes to the Ohio Theatre in PlayhouseSquare for performances on Feb. 20-21 as part of a 16-city national tour.

This dynamic company, whose diverse choreography is infused with traditional Latin and Spanish movements, will perform at 8 p.m. Friday evening and at a 2 p.m. Saturday matinee, co-presented by DANCECleveland and Cuyahoga Community College. Prior to the Saturday matinee performance, a family festival at 1 p.m. in the Ohio Theatre lobby will showcase Latin culture with dancing, drumming and family activities. Tri-C will also host a free Showtime at High Noon on Friday for students from noon-1 p.m.

A highlight of the Friday evening repertory will be Tito on Timbales, accompanied by the sizzling Latin Rhythm Percussion Ensemble performing live on stage with the company. Other dances on the program include: Club Havana, choreography by Pedro Ruiz; Tres Bailes by Jean Emile; and Ritmo y Ruido by Ann Reinking.

The Saturday matinee will celebrate Ballet Hispanico’s 39th anniversary under the leadership of Founder Tina Ramirez with the revival of Stages. The company will also dance Tito on Timbales and Ritmo y Ruido.

For tickets call 216-241-6000 or go online at playhousesquare.org. For group tickets and for information about the Saturday matinee family festival call DANCECleveland at 216-991-9000

Mark Morris Dance Group

Sold-out Mark Morris Dance Group’s performance excites!

The Mark Morris Dance Group proved in their recent Play House Square performance why they are one of the world’s most prolific dance companies. Not only does Mark Morris have over 100 works in its repertory, and is the only modern dance company with its own permanent music group, but the company has a unique and identifiable style.

Morris, who is meticulous in his choreography, takes a piece of music and creates a movement for each note of the composition. These moves center on swinging arms, powerful jumps, flowing physicality, unexpected movements, interesting body angles and contorted fingers.

Morris centers on music interpretation, not storytelling. He shows no favor for harmonic style. This program included contemporary, modern, classical and atonal compositions. The live music, whether solos or combinations of cello, piano, violin and piano, was all well performed.

The company’s dancers, seasoned professionals, are excellent. No stars here. This is a company that dances as a unit with interchangeable parts.

Capsule judgement: Dance Cleveland and Cuyahoga County College should be congratulated for their selection of the Mark Morris Dance Group for inclusion in their modern dance program. The sold-out audience responded with a joyous outburst of appreciation at the conclusion of the program.

Martha Graham Dance Company

MARTHA GRAHAM DANCE COMPANY pleases its audience!

Martha Graham is considered by most dance aficionados to be the queen of concert dance. Along with George Balanchine and Merce Cunningham, she laid the foundations for non-balletic dance in this country. Years after her death, her works still glow and inspire.

Her company recently performed in Cleveland under the sponsorship of Dance Cleveland, Cuyahoga Community College and Playhouse Square Center. The two concerts each had a different set of offerings. Opening night consisted of ‘ERRAND INTO THE MAZE,’ ‘ARDEN SONG (REDUX),’ ‘DIVERSION OF ANGELS’ and ‘ACTS OF LIGHT.’ With the exception of ‘ARDENT SONG’ each segment was well conceived and performed.

Using Graham’s powerful, athletic, gymnastic forms, which utilizes the floor as well as the space above it, ‘ERRAND INTO THE MAZE’ complete with robotic moves, created a power illusion in which every movement was in perfect sync with the musical notes of Gian Carlo Menotti. It was masterfully danced by Miki Orihara and Tadej Brdnik.

The actual choreography of Graham’s ‘ARDENT SONG’ has been lost, so Susan McLain reconceived the movements. While using many of Graham’s tools (powerful and sensual movements, gymnastic leaps and writhing on the floor) ,the piece missed the expected power of the original conceiver. The conclusion was met with courteous applause by the sold out audience.

‘DIVERSION OF ANGELS,’ using geometric patterns of movements, successfully explored mature, erotic and adolescent love.

‘ACTS OF LIGHT,’ based on the Emily Dickinson poem which states, “Thank you for all the acts of Light which beautified a summer now past to its reward,” was a three-part creation which creatively examined a conversation of lovers, a lament, and a ritual to the sun.

CAPSULE JUDGEMENT: Martha Graham Dance Company lived up to its world class reputation and advanced billing. Dance Cleveland and CCC are to be commended for bringing major dance companies to the area. It must have been gratifying for the sponsors to see a sold out house for the opening of the season.

Bebe Miller - Dance Cleveland

'BEBE MILLER COMPANY uses "motion capture" to create visual art

The Bebe Miller Company recently brought its newest dance piece, ‘LANDING/PLACE,’ to Cleveland under the joint sponsorship of Dance Cleveland and Cuyahoga Community College.

You don’t go to see Miller’s work expecting the “normal” dance program. This is both its strength and
its weakness. Her company doesn’t dance, per se, it
uses “motion capture” which incorporates state-of-the-art digital equipment to capture every subtle movement of a subject, preserving the movements on a computer. The technology is most often used for creating visual special effects and animation. In other words, the dancers are incorporated into mechanically produced musical sounds and computer generated graphics. It’s much like being in a contemporary art gallery, often with pictures that make no logical sense, with dancers who are free-flowing in their interpretation of a continuously developing illusion against a background of video movement.

The ‘LANDING/PLACE’ project, which began last October when the company started to integrate the “motion capture” with video imagery, developed over the summer.

According to Miller, the ‘LANDING/PLACE’ project “explores sensory, spatial and cultural dislocation—the yearning toward order in the apprehension of difference. Inspired by Miller’s travel in Eritrea, North Africa, ‘THE LANDING/PLACE PROJECT’ is created as a portrait of a more common landscape, the daily exchange of competing ideas of ‘place’ and the tension created by an unfamiliar body in an accustomed landscape.”

With all that said, I was not captivated by the intermissionless performance. Okay, I may be old-fashioned, but I like to understand, to feel something, to be carried away by what I see on stage.
At first I was captivated by the integration of the media. I was especially enamored with the technician, sitting alone stage right in the orchestra pit, who with his Mac computer and technical gear produced all the visual and musical/electronic sounds. After a while my attention waned, especially when a spotlight came up on him and he lip-synced an opera aria and then jumped on stage and attempted to dance with the performers. Well, I guess it could be called dancing if you consider wiggling one’s hips and sliding one’s feet around clumsily, dancing.

After my interest in the technician waned, I just sat back and watched the proficient dancers move around the stage. This is a very talented group of
performers! They deserve to be the center of
attention, rather than the gimmicks.

For a while I tried to make sense of the “stories”
being developed, but those attempts also soon waned out of frustration. I wasn’t alone in my attempt for understanding. Seated in my row was a charming teenager, who was in attendance with her mother. She leaned over about half-way through the production and whispered, “Is this supposed to make some kind of sense?” The mother replied, “I have no idea.”

I get frustrated by artists who pile trash in a space and call it a work of art. I am confounded by those who paint a bunch of squiggly lines and hang it up and then expect viewers to spend long periods of time pretending to like the work. I don’t think it’s art when someone gets up on a ladder and randomly pours paint onto a canvass. I also get upset by choreographers who create something that defies understanding and then state that the audience should interpret it for themselves. That’s not my job. It’s the creators job to give me enough concept and execution to lead me in some direction, even if its in a direction in which I don’t want to go.

At the conclusion of the performance the young lady sitting next to me said to her mother, “Should we stay for the after-talk? Maybe they’ll explain to us what we just saw.” Her mother said, “No! Someone else shouldn’t have to explain to you what you just saw. She should have made it clear to you with what she created on stage.” My response? “Amen!” I’m going to hire this woman to help me write my future reviews.