GroundWorks dances out of its Covid cocoon for concert at Cain Park

David Shimotakahara was with the Ohio Ballet when news came out that Heinz Poll, the co-founder of that company, was going to retire.  Rumor was that Shimotakahara was being considered for the job. Unfortunately, the Ohio Ballet board selected another company member.  Following that decision, things did not go well for OB, either artistically or financially.  

After his retirement, Poll distanced himself from the company, which had struggled.  

In 2002, according to the Akron Beacon-Journal, he told his successor to remove him from the company's printed materials. "It's not the kind of company I would have wanted to have," he told the paper at the time. "It clashes totally with my personal aesthetics."  

Ohio Ballet disbanded in 2006.

Many local dance aficionados agree that, based on what happened with OB and GroundWorks, which Shimotakahara founded in 1998, the fate of Ohio Ballet would have been quite different if he had been appointed as the company’s artistic director.

Shimotakahara, in developing his new company was determined to “challenge the preconceptions about dance.” This desire to push boundaries is evident in Groundwork’s bold initiative: “To seek collaboration and input from guest choreographers of the highest caliber and to constantly evolve the repertoire of the company.”

“Over the past 15 years, GroundWorks has created and produced over 60 original works. Twenty-one of these have been commissioned from nationally and internationally renowned guest artists. In addition, Shimotakahara has contributed over 30 pieces to the company’s rep. His work is about here and now. He is interested in framing issues surrounding individuality, privacy, place, and connectivity through movement that speaks through its musicality and physicality.”

This philosophy parallels well with Poll’s beliefs which was once characterized as "clarity, precision, lean look, and distinctive style."  Parallel also to Poll is that GroundWorks gained national acclaim as “a small troupe of well-trained classical dancers capable of performing in a wide range of styles, who welcomed good dancers whose bodies were considered wrong for ballet, which is also true of GroundWorks.”

An examination of some of the company’s former dancers illustrates the variances of styles and body types.  Amy Miller was a muscular and powerful dancer.  Felise Bagley, probably the most proficient and elegant local contemporary/modern dancer in the area, was a lovely waif.  Annika Sheaff, a former member of Pilobolus Dance Theater defied the image of the classical ballet dancer.  Tall and lanky Kyle Ring was more Broadway star Tommy Tune than Baryshnikov.

 

GroundWorks emerged from the Covid-induced lay-off with a new “fab” five.  As evidenced by their Cain Park July 23 and 24^th concert, they were not as synced as the usual Shimotakahara-meticulously honed dancers. 

 

The program opened with Axis.  Created by New York Choreographer Adam Barruch with original recorded electronic music and sound by Roarke Menzies. The piece was created as a dance-film.  It was first seen online by GroundWorks in June 2021.  It “explores the alchemical processes that drive the natural world and the inner workings of our bodies.”

 

Highlighted by strong solos performances by Annie Morgan and Chance Williams, the dancers interwove through movements performied as AC current, alternating the powerful with the static.  Though sometimes lacking in unity, the overall effect was positive.

 

Sud Butser’s Dream is David Shimotkahara’s homage to sounds of early American jazz. 

 

Danced to the sounds of such jazz icons as Fats Waller, Mound City Blowers, Scott Joplin, Tin Parham and Mamie Smith that piece suffered by being on the large Evans stage instead of an intimate venue.  The dancers were fully engaged but the transitions between segments and the lack of any humor when the music cried for it, led to tepid applause at the conclusion.

 

Inside, choreographed by Clevelander Antonio Brown, was conceived as a film project in the fall of 2020. The work “examines five individuals who are confined from the outside and battle with their thoughts of past and future.”

 

The dancers responded well to the multi-sounds and the inner conflicts each experienced.

 

Capsule judgment:  GroundWorks Dance Theater is in the midst of a reconceptualization with five new dancers who must learn not only Artistic Director David Shimotakahara’s request for precision, but in working as a team.  The past company transitions indicate that it can be done.  It should be interesting to watch.

 

Next up for GroundWorks is the Heinz Dance Festival on August 5 @ 6 at Firestone Park in Akron and Fall Performance Series on November 5 & 6 at Night Stage, Akron Civic Theatre.  For information go to groundworksdance.org

GROUNDWORKS DANCE THEATER delights again at Cain Park concert

As such television programs as “So You Think You Can Dance” and “World of Dance” convince more and more people to appreciate dance as an art form, they also create a higher barrier for local companies to leap.  With such superb choreographers as Tony winning Mia Michaels, Travis Wall, Sonya Tayeh and Tyce Diorio creating visual marvels, and national and world-wide dancers modeling what is “good” in dance, expectations for local companies rise.

Groundworks Dance Theater, David Shimotakahara’s Cleveland-based company, was founded in 1989 and “is a vibrant and sustainable organization, nationally recognized for making a unique contribution to the art form and enriching human experiences through the creation of original contemporary dance.”  It is noted for being innovative, collaborative, unique and “creating meaningful and intimate experiences and exchanges.”

These qualities were clearly on display as, on a hot and sticky evening at the Alma Theatre in Cain Park, an enthusiastic audience saw the company, complete with two new members, present three outstanding compositions, which were in the form and performance level of those which flash across the television screens.

The program opened with the World Premiere of guest choreographer Monica Bill Barnes’ “Untitled.”  Danced to a mélange of such musical selections as Louis Prima’s “Oh Marie,” “Goldberg Variations J. S. Bach, BWV 966, ‘Aria’” as performed by Glenn Gould, and Joan Osborne’s “Please Don’t Tell Me How The Story Ends,” the blend of humor, “the stress on celebration of individuality and chronicling of the innate theatricality of everyday life,” the piece was encompassing and audience pleasing.

 “Inamorata,” as choreographed by Kate Weare and restaged by Douglas Gillespie, is a non-stop exhausting dance featuring the entire company (Felise Bagley, Gemma Freitas Bender, Annika Sheaff, Damien Highfield and Tyler Ring).  

Encompassing a full display of human emotions, the feelings of longing, hope, doubt and mystery were highlighted through a pastiche of various dance styles.

The final selection, the audience pleasing “Chromatic,” found the entire company dancing to musical selections played on player pianos and was conceived by Shimotakahara in collaboration with past and present company members.

Groundworks’ two newest company members are Tyler Ring and Gemma Freitas Bender.  Ring, an Indiana native, is a tall-lanky Tommy Tune-looking dancer.  He displayed excellent flexibility, athleticism and an engaging personality, which blended well with the rest of the troupe.  He is a nice addition.

The attractive Bender, who is from Buffalo, New York, was a 2014-2015 Recipient of the Princess Grace USA Award and is a graduate of Julliard.  Her style of dance fits well with the gymnastic/Pilobolus form of Annika Sheaff, also a Julliard grad, and the elegant movements of the elegant Felise Bagley.

Capsule judgment:  Groundworks continues to be the premiere small dance company of the Cleveland area.  Their opening night Cain Park program was well received by the near capacity audience at the Alma Theatre.

Next up for Groundworks:  Heinz Poll Summer Dance Festival, August 4 & 5, 2017 @ 8:45 in Goodyear Park in Akron.  They next appear in Cleveland with their Fall Performance Series featuring a world premiere of former company member Amy Miller on October 13 & 14, 2017 @ The Allen Theatre in Playhouse Square.

Groundworks Dance Theater stresses imagination you can see @ Breen Center; IT TAKES TWO--annual fundraising

The reconfigured Groundworks Dance Theater, with two new dancers this season, again proved that they are one of the area’s premiere dance companies in their presentation of “Falling Awake,” in its world premiere, and Artistic Director David Shimotakahara’s spellbinding, “Ghost Opera.” 

“Falling Awake” found the entire company interpreting choreographer Loni Landon’s creation about tension, connection/disconnection and how people relate to each other.

The piece, Landon said, was inspired “from a recurring image [she] had after several chaotic dreams following Hurricane Sandy.”  Her hope for the piece, “to have it feel like a continuous stream of consciousness—a dream—a movie,” was achieved.

Danced to select music from the soundtrack of “The Great Beauty,” it incorporated redundant segments of action and feelings which would not go away.  The fragmented scenes, eerie electronic and piano music, and  effective lighting by Dennis Dugan, combined to create the desired image of a fracture dream.

The slight but powerful newcomer, Michael Marquez, continued to impress with his strong movements, controlled precision and fluidity.   Attractive Lauren Garson, the other company neophyte, fit seamlessly into the strong female corps  of Felise Bagley and Annika Sheaff displaying strong dance moves and a complete performance vocabulary.

“Ghost Opera” is a brilliant dance and theatrical experience.   Combining live music and ancient theatrical methods, it left an indelible impression.

The piece, Shimotakahara’s re-imagining of Tan Dun’s master work, brings spirits from the past present and future, from east and west culture, from nature and technology, together into an emotionally satisfying presentation.

First danced at the Cleveland Institute of Music on June 28, 2014, this is a piece that should be a permanent fixture in the Groundworks lexicon of works.

The multi-textured piece found the musicians (Solomon Liang, Andra Belding, Aaron Mossburg, Erica Snowden and Yihan Chen) moving from place to place on stage, interweaving with the dancers, filmy curtains and spectacular lighting effects by Dennis Dugan.   Using water in bowls, paper, Asian instruments such as the Pipa, and traditional Western musical instruments, they set a perfect mood for the performers’ use of Oriental hand, arm, leg and body movements.

A highlight segment of the dancing was an extended duet by the ever proficient Felise Bagley and Michael Marquez.   A wonderful segment centering on the manipulation of a large box was filled with humor and skill.

Capsule Judgement: An appreciative audience expressed their pleasure as the  final curtain fell on Groundworks Spring Concert at Breen Auditorium.  The company continues to smoothly integrate new dancers into their membership without losing any of their precision and living up to their motto of “Imagination You Can See.” 

Performance dates were:  March 18 and 19, 2016 at Breen Center for the Performing Arts

IT TAKES TWO…annual fundraiser
Seven local celebrities will be featured in fantastic and fun duets with seven GroundWorks artists. 2016 Celebrity Dancers
¥    Margaret Richards Frankel, Dentist, Richards Frankel Dentistry
¥    Ian Friedman, Attorney, Friedman & Nemacek, LLC
¥    Brian Marita, Managing Partner, Ciuni and Panichi
¥    Heidi Gartland, Vice President, Government & Community Relations, University Hospitals
¥    Kristen Morris, Chief Government and Community Relations Officer, Cleveland Clinic
¥    August A. Napoli Jr., Deputy Director and Chief Advancement Officer, Cleveland Museum of Art
¥    Sylvia Pérez, VP for Corporate Governance and Governmental & International Affairs, The Cleveland Foundation
Matt Zone, Cleveland City Councilman

¥    When: Saturday, April 2nd, 2016
¥    Where: The Cleveland Museum of Art
¥    Parking: Free indoor parking provided
¥    Suggested Attire: Casual, Cool, Cocktail

For information about GroundWorks go to http://www.groundworksdance.orgor call 216-751-0088

Groundworks Dance Theater captivates at Cain Park

As the capacity audience was settling in on opening night of Groundworks Dance Theatre’s summer concert in Cain Park’s Alma Theatre, there was a loud electronic sound stage right.  As the eyes shifted in its direction, a lawn mower was pushed on stage.  This was followed by a series of other sounds and actions of everyday occurrences including playing golf, sunbathing, and living in suburbia. 

“House Broken, as choreographed by Rosie Harerra is a series of everyday songs such as “It’s Not Unusual” by Tom Jones, “So Happy Together” by the Turtles, “Little Boxes” by Pete Seeger, and “Cranking and Old Lawnmower,” by Million Dollar Sounds,” which, when blended together, created a zany picture of modern life via dance.

Each well executed crossroads piece between theatre and dance highlighted the skills of the newly constituted Groundworks company.   The composition, which was premiered in 2014, was well executed and delightful.  New dancers are Lauren Garson, former member of the Houston Metropolitan Dance Company and Parson Dance.  You may have seen her on the launch of Microsoft XBOX 360. Michael Marquez is a 2015 graduate of The Julliard School, who has premiered a series of new creations by such choreographers as Monisa Bill Barnes, Emery LeCrone and Kyle Scheurich.  The duo blended well with company veterans Felise Bagley, Annika Sheaff and Damien Highfield.

“Remora,” in its world premiere, was a superb showcase that demonstrated the physical skills of the company.  The piece was complex and demanded and received perfect timing. 

Synced to the repetitive cadence of the music created by composer Michael Wall, the non-narrative performance exploded on stage with gymnastic exertions, controlled moves, fine lifts and meaningful body contact between the dancers.   Dennis Dugan’s lighting enhanced the mood and movements.  Two highlight segments were Annika Sheaff’s solo and Damien Highfield and Felise Bagley’s duet.  The audience response was explosive.

“Boom Boom,” created by Groundworks Artistic Director David Shimotakahara in 2009, is a highlight piece in the company’s repertoire.

The number pays tribute to the essence of the blues.  As stated in the program about that musical form, “For all its pain and suffering it is also full of life.  There is loneliness and endless journey, but here is also an attitude about survival.”

The musical sounds, sometime plaintive, sometimes playful, sometimes lively, sometimes haunting, were well echoed in the dancing.

The musical score included:  “Sitting on Top of the World,” “Today I Sing The Blues,” “When the Train Comes Along,” “Hound Dog,” and “Got My Mojo Working.’

Capsule Judgement:  GroundWorks Dance Theater’s “At Cain Park’s Alma Theater” was a well danced and an entertaining evening of theatre.  The newly constituted company has a vitality and proficiency that maintains the integrity and artistic significance of David Shimotakahara’s mission of fine dancing and imagination. 

Presentation dates:  July 17-19, 2015

Upcoming GroundWorks performances:

Heinz Poll Summer Dance Festival
July 31 and August 1 @ 8:45 pm
Glendale Cemetery, Akron

Arts in August
August 14, 2015 @ 8:30 pm
Tremont’s Lincoln Park

Fall Performance Series
October 16 & 17 at @ 7:30 pm
The Allen Theatre, PlayhouseSquare

For information about GroundWorks go to http://www.groundworksdance.orgor call 216-751-0088.

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

GROUNDWORKS DANCE, 8/13

Dance has long been perceived as an art entertainment for the wealthy, educated and performance trained.  Terms such as “fifth position,” “adagio,” “camber,” “shag,” and “pirouette” are foreign to most people.   Dance styles such as hip hop, Tango, jazz, Samba, and Broadway may be terms that have been heard, but not known as a specific type of dance.  This combination has made attending dance programs a “no go” activity for many.

This perception seems to have changed lately with the advent of such television shows as DANCING WITH THE STARS, but most importantly, SO YOU THINK YOU CAN DANCE.  The latter takes unknown dancers trained in a multitude of styles, and puts them into an “American Idol” competition with dance  judges explaining what the contestants are doing and why they are proficient in specific styles.  Thus, the vocabulary of dance, and the appreciation of the athletic nature of this form of the arts, has made the art form more popular.

An awareness for the role of choreographers also has been nurtured, and names like Mia Michaels, Sonya Tayeh, Mandy Moore, Travis Wall and Tyce Diorio have become known, and their talents highlighted.

This new awareness places additional pressure on local dance companies to produce higher quality performances and more creative and broader classifications of dances as audiences understand what us happening on stage.

As overheard between several people at intermission of the recent GROUNWORKS DANCE Cain Park concert, a question arose as to why local companies, some of whom are short on proficient male dancers, don’t tap into the SO YOU THINK YOU CAN DANCE performers, not only the finalists but even some of the more proficient cast offs.  Also discussed was, “how about doing some of the works of the program’s innovative choreographers, which are often seen only once and then thrown onto the choreographic junk pile.”

This is not to say that GROUNDWORKS, David Shimotakahara’s little troupe of 5 needs overhauling, but realistically Damien Highfield should be getting near the end of his long dance career, and though Gary Lenington is moving more easily since he has adjusted his body size, the artistic director may soon be needing to search for some new males.  As for the females, he is in good shape.  Felise Bagley is still the best female dancer in town, adorable and dynamic Noelle Cotler has nicely replaced Amy Miller, and Annika Sheaff is a strong soloist, but her height and movement profile sometimes make it difficult for her to blend with the petite Cotler and Bagley.

Performing before an appreciative opening night house in Cain Park’s Alma Theatre, Groundworks’ performance was a nicely balanced program.

BEFORE WITH AFTER, a 2003 piece by Shimotakahara, with composed music by J. S. Bach, found the dancers flowing to the classical sounds, with the movements clearly paralleling the rhythm.   The piece acknowledged life’s encounters, crossed and re-crossed relationships in what might be termed “physical poetic responses to Bach’s compositions.” Highlights included classic movements by Bagley, appealing facial expressions and body creations by Cotler, and athletic actions by Sheaff.

WAY LEADS TO WAY (2013) was signature Amy Miller.  The company’s Associate Artistic Director was a powerful, controlled, compelling dancer.  Her choreography mirrors those traits.  Writhing, extended gestures, strong springs, running, and body thrusts combined to illuminate “Lusine,” a sound piece described as “down tempo, placid, abstract hip-hop, haunting ambient bipping/skipping techno.”  Danced in shadows, the mood was enhanced by Dennis Dugan’s lighting.

Award winning choreographer Doug Elkins started his dance career as a B-Boy, a break dancer, is noted for combining “modern dance, hip hop, martial arts and ballet with a touch of [Buster] Keaton and [Charlie] Chaplin”  His dance creations are filled with humor and challenging movement.

The very entertaining six part, MY HUMMINGBIRD AT THE HIGH LINE (2012), was set to musical pieces on the themes of love and creativity. The dance composition was inspired by writer  Jarod Kintz’s “If my love could be represented by a blur, it would be the beating of a hummingbird’s wings.  Did you know my love is the only love that can fly backwards?”

Songs such as “A Lot of Living to Do,” “Sway,” “I Got You Under My Skin,” and ”Dis Quand Reviendra Tu,” were blended to make for a jive, rumba, modern ballet mélange of classic, modern and contemporary moods.  The amalgamation worked well.  Two highlights were the coupling of Lenington and Sheaff to create a fascinating and well-conceived segment proficiently danced to Handel’s ”Acis and Galatea,” and Bagley and Cotler creating a delightful contemporary vibe while moving to Frankie Valli and the Four Seasons, “Beggin’.”

Capsule judgement: GROUNDWORKS DANCE presented another pleasing concert before an appreciative audience on opening night of their August 16-18, 2013 Cain Park presentation.  SUPPORT YOUR LOCAL DANCE COMPANIES!

GROUNDWORKS features two  premiers; future dance programs

Roy Berko

(Member, Dance Critics Association)

Since its founding in 1998, Groundworks DanceTheater, David Shimotakahara’s small dance company, has been dedicated to the theme, “imagination you can see.”  The company “explores the human experience through unique and adventurous choreography.”  They perform new works, imagine older works, while performing in a variety of venues which range from an old ice house in Akron to Trinity Cathedral to the Cleveland Institute of Art to the Glendale Cemetery.

The latest adventure for the company and its collaborators was at the Breen Center for the Performing Arts.  The same program will be repeated at 7:30 on March 22  at the Akron-Summit County Public Library.  The evening consisted of two world premieres and a revival.

LUNA, choreographed by Shimotakahara in collaboration with the dancers, is a physical exploration of polarities:  lost and found, give and take.  As with any set of opposites, the extreme ends of the spectrum overlap and reappear.  The composition was danced to the flat affect sounds written by Peter Swendsen. The quick gymnastic actions were well performed, the polar opposites delineated by moves and counter moves, repelling of touch, while unfolding in parallel sequences.  The highlight segment was a compelling duet by Felise Bagley, probably the best female contemporary dancer in the area, and Gary Lenington.  Like the music, the dancing was interesting, but not compelling.

INAMORATA, also in its world premiere, was the choreographic creation of Kate Weare, who is noted for her unique dance voice.  She intends, through her visual images, to “inspire its own world.” As per its title’s meaning—“a female lover or a woman who is loved”—the number, which was danced to the recorded sounds of such compositions as Processional Hymn, Nannou, Contrabaejeando, and No One Hurts Up Here, puts females in various loving situations. An exciting addition was a recently rare dance appearance by Shimotakahara.  The piece received deserved strong audience applause.

BRUBECK, a commissioned piece, was developed in 2012. Shimotakahara has given a physical snapshot of the sounds of the American jazz icon as physical movements by combining seven of Brubeck’s’ lexicon of compositions, including, Take Five, Bluette, Pick Up Sticks and Unsquare Dance.

Each section highlighted a different side of Brubeck’s’ experimentation with  moods and time signatures.  His style has been epitomized as “motion and commotion” as “creating infectious melodies and dynamic rhythms,” and this was well reflected in the dancing.

The dancers switched gears as the moods of the music changed from plaintive, to sassy, to happy, to sensual.   The overall effect was energizing, educational and often mesmerizing.

As I commented in my review of the original production, Kristine Davies’ costume design is confusing.  The female short shirt-waist pink dresses and then the varying styles of bathing suits didn’t parallel the musical moods and did little to create the needed visual image.  The men’s costumes added little to creating the visual moods.  If the piece is to be repeated again, consideration should be given to altering the costume design.

Capsule judgement: Groundworks continues to be a bright star in the area’s contemporary dance sky.  The well disciplined company, which strives to present new and interesting performances in audience friendly venues, deserves the strong audience support it is receiving.  

Coming up:  April 13 @ 8 PM at the EJ Thomas Hall the company will perform with the Akron Symphony Orchestra.

For information go to http://www.groundworksdance.org

UPCOMING LOCAL DANCE PROGRAMS

VERB BALLETS

Saturday, February 23, 2013, 8 PM, Breen Center @ St. Ignatius High  School

Three works by Chung-Fu Chang, who is in residency with Verb.  Program includes THE LILY, created for Verb, Chang dancing PHEASANT’S WRITING, a self-choreographed solo work, and the world premiere of Richard Dickinson’s ballet about loss and longing set to Richard Strauss’s haunting Four Last Songs

216-397-3757 or http://www.verballets.org/tickets.html

MARK MORRIS DANCE GROUP

Saturday, March 2, 2013, Palace Theatre

Sponsored by Dance Cleveland

Affectionately known as “America’s dancer company,” Mark Morris Dance, which is both brash and profound, is acclaimed for its ability to make classical music visible through dance.  The last time they appeared locally, I wrote, “Morris, who is meticulous in his choreography, takes a piece of music and creates a movement for each note of the composition.”   Morris Dance sold out in its last local performance, so get your tickets now!

INLET DANCE

April 11-13, 2013, Cleveland Public Theatre

Experience the second movement of Bill Wade’s exploration of the 4 elements, AIR, along with selected pieces from the company’s repertoire.

216-631-2727 501 or cptonline.org

GROUNDWORKS is superb in Allen premiere

This is the 14th season of GROUNDWORKS, the Cleveland area small dance company which has proven to be a local treasure since its inception.  In its short history the company has commissioned 19 premieres by nationally and internationally acclaimed choreographers, as well as 26 new works by its founder and Artistic Director, David Shimotakahara, and 8 by former dancer and now Artistic Associate Amy Miller.  Its highlight feature is the high level of discipline, purposefulness, and precision instilled by Shimotakahara.

Most of the programs have been excellent, but none has reached the heights of balance of types of works and quality as GROUNDWORKS recent showing at the Allen Theatre.

Starting this season, the company has formed a partnership with Cleveland State University.  This attachment broadens the educational and performance possibilities of GROUNDWORKS and gives the organization a new home, while affording CSU students to work with dance professionals. 

This union does not mean that the company, which often finds itself in non-traditional settings such as Trinity Cathedral, Cleveland Institute of Music, Botanical Gardens, Akron’s Ice House, the main branch of the Akron Summit County Public Library, and Glendale Cemetery, will forgo these venues.  It simply means that they will have a home base and an alliance with one of Ohio’s fastest growing universities and a presence in PlayhouseSquare, one of the area’s premiere arts locations. 

Besides the new partnership and venue, Groundworks introduced its newest dancer, Anika Sheaff (www.annikasheaff.com), a statuesque, well-trained performer whose training with Pilobolus Dance Theater brings a new dimension to the company. 

The program opened with ALLOW, choreographed by Amy Miller.   Much like Miller, the piece showcased power and strength as it explored chaos, coherence and the way people deny and permit themselves to align with others.  Composed of dancers moving alone, yet in the company of others, to the clicking sounds of Alex Christie’s synthesized tones, it featured excellent performances by Felise Bagley, Noelle Cotler, Damien Highfield and Gary Lenington, with the latter performing some exception lifts.

The world premiere of MY HUMMINGBIRD AT THE HIGHLINE, choreographed by the wildly creative Doug Elkins, whose company recently performed FRAULEIN MARIA as part of Dance Cleveland’s offerings, was modern ballet at its finest.  Playful and sexy, it was danced to such divergent works as A Lot of Living To Do and I’ve Got You Under My Skin, to Handel’s Acis and Galatea and  Wainwright’s Dis Quand Reviendra Tu.  Only Elkins could merge such sounds and make the whole thing a delightful blend of joy.

The second act featured two works by Shimotakahara.  Both were outstanding. 

CIRCADIAN was an emotionally draining, disciplined, exquisite piece featuring a captivating performance by Felise Bagley.  She was partnered by Damien Highfield, who gave one of the finest performances.   The choreography, dancing, music of Gustavo Aguilar, and lighting by Dennis Dugan gave new meaning to the interaction between behavior and biology.  Bagley proved yet once again why she is the area’s premiere female dancer.

LIGHTS UP, danced to live jazz music composed and played Howie Smith, Bill Ransom and Dan Wilson, featured solos created by each dancer and Shimotakahara to highlight their performance strengths.  Dancers each had a strong solo culminating in a mash-up conclusion.  The effect of having worked with Doug Elkins was apparent.  The piece resulted in a yelling, well earned standing ovation, bringing an outstanding evening of dance to a close.

Capsule judgement:  Groundworks hit the pinnacle of its existence in their recent performance at the Allen Theatre.  This was an evening of dance that well-earned the joyously strong approval from the enthusiastic audience.  BRAVO!

Next up:  GroundWorks performs at the new MOCA CLEVELAND museum on November 29 at 7:30. This performance will feature the company in multiple locations throughout the building, making use of its transparency, unique spaces and open floor plan.  For information go to http://www.groundworksdance.org

GroundWorks Dancetheater 8/12

Sold out GROUNDWORKS program varied and interesting

With the ever increasing popularity of reality television shows like SO YOU THINK YOU CAN DANCE and DANCING WITH THE STARS, the interest in dance is expanding. Local evidence was the large enthusiastic audience at Doug Elkin’s ‘FRÄULEIN MARIA, recently presented by DanceCleveland at the Hanna Theatre and the sold out Cain Park run of the Groundworks DanceTheater’s at Cain Park.

With that increased interest, as was evidenced by the comments made at intermission and after the Groundworks’ performance, has come a higher awareness for the quality of the dance.

It’s impossible to watch SO YOU THINK YOU CAN DANCE and not gain appreciation for both the dancers’ skills and the abilities of the choreographers like Mia Michaels to tell stories and create visual beauty. People in the Alma Theatre courtyard sounded like Nigel Lithgoe and Mary Murphy, the reality show’s judges, as they commented on the performance.

The opening number, BOOK OF WATER, choreographed by David Shimotakahara, the company’s artistic director, was a multi-sectioned piece which dramatized substance in its many forms, as a metaphor of the images of dance. In this selection, “each image is part of a journey touching on memory, chance legacy and ultimately the ways we are joined together.” Joining together is a Shimotakahara signature theme. Using gymnastic moves, flowing hands, and strong lifts, each segment mirrored the varied sounds of the music, which ranged from digital, to jazz, to atonal, to vocal. Though well performed, the piece was somewhat long.

SWEET, staged by Shimotakahara, was a compelling selection danced to the mellow sound of Bobby McFerrin’s Sweet in the Morning. The always precise and engaging Felise Bagley and the dependable Damien Highfield melded together, flowing to the musical sounds, in movements reminiscent of Heinz Poll’s poetic choreography.

CURRENT FRAME, getting its Cleveland Premiere, is the work of Amy Miller, former Groundworks dancer and its Artistic Associate. Miller was a powerful and athletic dancer. Her choreography mirrors her dance form. Exploring the dramatic interplay between the formal structure of Baroque composer Heinrich Biber’s Passacaglia violin solo, brilliantly performed by Hanne-Berit Hahnemann, and the emotional undercurrent found in the music’s themes and cadences, the piece mirrored intertwining sounds with intertwining bodies. Filled with strong lifts, no facial expression, and effective intensity, Kathryn Wells Taylor and Gary Lenington well carried out Miller’s design.

The highlight of the evening was BRUBECK, getting its Cleveland premiere. Dedicated to Jim Branagan, an active Groundworks supporter who recently died, the involving dance was everything Brubeck.

Combining seven of Brubecks’ lexicon of compositions, including, Take Five, Bluette, Pick Up Sticks and Unsquare Dance, Shimotakahara has given a snapshot of the sounds of the American jazz icon as physical movements.

Each section highlighted a different side of Brubecks’ experimentation with moods and time signatures. His style has been epitomized as “motion and commotion” as “creating infectious melodies and dynamic rhythms,” and this was well reflected in the dancing.

The dancers switched gears as the moods of the music changed from plaintive, to sassy, to happy, to sensual. Noelle Cotler added a special presence with her ever reflective appropriate facial expression.

Kristine Davies’ costume design was confusing. The female short shirt-waist pink dresses and then the varying styles of bathing suits didn’t parallel to the musical moods. Lenington’s white tank top and belted brief shorts accentuated his increased bulk and, as with the women’s costumes, did little to create the needed visual image.

Capsule judgement: Groundworks DanceTheater is one of the area’s finest small dance companies. Their recent tenth anniversary concert at Cain Park, again highlighted their versatility and proficiency.

Groundworks Dancetheater 2/12

Groundworks presents compelling program at The Breen Center

David Shimotakahara’s Groundworks DanceTheater has received lots of awards and recognitions. They are well deserved. The artistic director and the company’s major choreographer continues to find fine dancers who are well-trained to continue the company’s tradition of having performers who are proficient, have fine body control, and can consistently perform at a high level. When one dancer leaves, he or she is replaced by another of equal or higher quality.

Though he didn’t choreograph a single piece in the company’s latest program

at the Breen Center, Shimotakahara’s perfectionist stamp was all over the performances.

Amy Miller, a former Groundworks dancer and presently the group’s Artistic Associate, left the area to move to New York, but returns to choreograph. Her VALENCE, was all Miller. Strong, powerful, controlled. The dancers moved with precision to a cacophony of sounds. The piece portrayed the capacity of one person or thing to react with or affect another. Like exploding atoms, the dancers ran, interacted and moved and affected each other. The two art forms of music and dance melded into a coherent purposeful piece. Dennis Dugan’s lighting well accented the actions.

CoDa, by Israeli choreographer Ronen Koresh, received its world premiere. It was danced to a variety of musical sounds and selections from such sources as Steppe, Seuls au monde and Invités sur la terre. Combining visual images from both Sephardic and Ashkenazy heritages, with moves of Hasidic and contemporary Israel, there was a heartiness, freshness and compelling presence to the dancing.

No story was told. Instead, it was a series of kinetic images that grab and hold an audience and was greeted by prolonged applause.

HINDSIGHT by Choreographer Lynn Taylor-Corbett concluded the exciting evening. Dancing to such songs as I’ll Stand By You, Hymn to Her, Rosalee, and Love’s A Mystery, the six-part piece, well used the dancers to create visual images that fit the music and created fine illusions.

Capsule judgement: Bravos to Felice Bagley, Sarah Perrett, Kathryn Taylor, Damien Highfield and Gary Lenington who effectively danced every number in the concert. Their abilities, along with fine choreography, made this a special evening of dance.

Cleveland's Groundworks and Inlet Dance

Cleveland’s GROUNDWORKS and INLET DANCE

When, eleven years ago, Cleveland San Jose Ballet, due to poor artistic and financial management, snuck out of town to become the San Jose Ballet, the doomsayers predicted that that was the end of dance as a Cleveland area art form. Nothing was further from the truth.

No, the area has no large ballet company, but that void was replaced by some small, vibrant modern and contemporary dance groups. Included in the list are Verb Ballets, Dancing Wheels, GroundWorks Dance Theater, Ohio Dance Theatre, Greene + Medcalf Movement Project, and Inlet Dance. The latter two just had very different, but outstanding programs, so, not to slight any of the others who will get future coverage, here is a quick view of Groundworks and Inlet.

GROUNDWORKS DANCETHEATER

Founded in 1998, GROUNDWORKS DANCETHEATER is the creative child of David Shimotakahara, who serves as the company’s Artistic Director. The excellent five person company (Felise Bagley Damien Highfield, Gary Lenington, Sarah Perrett and Kathryn Taylor), along with Artistic Associate Amy Miller and Music Director Gustavo Aguilar, have made it their goal to not only create creative and proficient programs, but make the entire Northeastern Ohio area their home.

GROUNDWORKS has no home of its own, but performs in various venues, going to the people, rather than having the people, per se, come to them. Performances have been held at Trinity Cathedral, dancing on a stage erected between the gothic spires, The Akron Ice House, performing in the vast vertical space that once served as an ice block and storage site, Cleveland Public Theatre, in a black box space, and the Cleveland Botanical Gardens.

Under the banner, Imagination you can see, the company enters its second decade, having been called “one of Cleveland’s cultural gems,” “one of the country’s leading contemporary dance companies,” “one of the year’s 25 to watch in the dance world,” and, “a company that is setting the standard for small dance ensembles in Northeastern Ohio.”

Beyond performances, the company does education outreach to the Cleveland Metropolitan School District, connecting to over 1000 students each year. Outreach and Educational Coordinator Mark Otloski was recognized with the Yaneo 2010 Sunshine Award in recognition of his commitment to arts education in the community.

The company’s next public presentation will be Groundworks at Breen Center on February 3 and 4. The program will include the world premiere of a commissioned work by Ronen Koresh, and Hindsight, Lynne Taylor-Corbett’s homage to Chrissie Hynde of the Pretenders. Breen Center is located at 208 West 30th Street in Cleveland.

INLET DANCE THEATRE

Founded in 2001, Bill Wade’s INLET DANCE THEATRE, operates under the goal of “creating life affirming new work, often pulling our topic based choreography from the communities we serve.” They are also a company without a permanent home, reaching out to the community by performing in schools, parks and dance festivals.

The company works with such community organizations as The Nehemiah Mission, which, based on the biblical Nehemiah who rebuilt Jerusalem, has the purpose of rebuilding the lives and homes of the physically and fiscally challenged of Cleveland by bringing in over 1000 volunteers per year to complete around 100 projects in private homes and churches.

Wade’s company, which has two of the area’s best male dancers (Joshua Brown and Justin Steintz) has fine female company members, Makenzie Clevenger and Elizabeth Pollert, an apprentice, Dominic Moore-Dunson, and six trainees.

Several years ago the company did a dance exchange with the residents of Easter Island (a commonwealth of Chile), one of the most remote islands of the world. The Inlet company traveled to Chile to learn dances and customs of the Rap Anui people and several members of that culture travelled to Cleveland. The local company created a series of dances, which were performed to authentic music and costumes designed to imitate the cultural pattern of the island residents.

Wade’s philosophy embodies a longstanding belief that “dance viewing, training and performing experiences serve as tools to bring about personal growth and development.”

Inlet’s education programming includes teaching dance at The Music Settlement, an annual Summer Dance Intensive, which attracts students from as far away as Central America, and residencies throughout Ohio as part of the Ohio Arts Council’s Artist in Residence Program.

Inlet’s next performance will be at 7 pm on Friday, February 24. Entitled An Intimate Evening with Inlet Dance Theatre, it is a fundraiser to be performed in the third floor ballroom of a South Park Boulevard landmark home. Attendance is limited to 40. For information go to info@shakerartscouncil.org

Yes, dance is alive and well in the Cleveland area.

Groundworks Dancetheater/Trinity Cathedral

GROUNDWORKS says goodbye to Amy Miller with engrossing production

Since 1998, Amy Miller and David Shimotakahara have been the artistic backbone of Groundworks Dance. Unfortunately, for the company and the audiences who have come back again and again to see the ensemble, Miller is moving to New York City. The company's recent program at Trinity Cathedral, a repeat of a presentation done earlier this season at The Akron Ice House, was a final tribute to the relationship between the dynamic duo.

Nothing could more exemplify Shimotakahara and Miller's bond than the last 30 seconds of 'DnA,' when the duo stood face-to-face bathed in share warmth. It was an emotional tribute to the connection that comes from two very talented individuals who melded into a powerful artistic force to give joy to both each other and audiences. Bravo!

The opening number, the world premiere of choreographer Jill Sigman's 'SPLIT STITCH,' was set to original music by Gustavo Aguilar. Each of the four-part movements found the dancers displaying a different set of emotions. Coordinated and segmented moves, interaction, lack of interaction, lyrical and static bodily actions, all highlighted by Dennis Dugan's lighting which cast shadows and moved in coordination and discordance with the dancers, created a series of illusions.

The final piece, 'JUST YESTERDAY,' was a recreation of a Dianne McIntyre choreographed number which is a series of vignettes, based on stories being told by the dancers, which are recreated in movement. Nostalgia, joy, sadness, personal traditions as they related to food, hi-jinks, fads, movies, family, and people who touched the dancers' lives, flowed forth. The fine acoustics of Trinity Cathedral allowed for clarity of hearing the spoken words. All in all, this is a fascinating selection, which got a wonderful performance.

Capsule judgement: As has come to be expected, the sold out performance of GROUNWORKS DANCE THEATER at Trinity Cathedral was a visual delight. Good luck to Amy Miller and welcome to Katie Wells, the newest of the company's dancers.

Groundworks Dancetheater at The Akron Ice House

GROUNDWORKS says goodbye to Amy Miller in strong Ice House program


In 1998, Amy Miller was the first dancer asked to join Groundworks, David Shimotakahara's fledgling dance company. She also served the company as its Artistic Associate. She and Shimotakahara have been the backbone of the company since. Unfortunately, for the company, and the audiences who have come back again and again to see the ensemble, Miller is moving to New York City. She will continue to have creative ties with Groundworks, probably in the form of choreography, but her physical presence will be missing and missed.

Nothing could more exemplify Shimotakahara and Miller's bond, than the last 30 seconds of 'DnA,' which received its world premiere at the company's latest concert at Akron's Ice House. The duo piece, co-choreographed by Amy and David to music by Mark Hollis and Marc Mellits, was a tribute to the strength and depth of relationships. Obviously a reference to the choreographers' strong bond, it highlighted how “connections are tested over time and recognizes the miracle of finding friendship.” The piece ended with the duo facing each other, looking intently into each other's faces, sharing years of joint ventures and what appears to be a lasting emotional relationship. It was a tribute to the connection that comes from two very talented individuals who melded into a powerful artistic force to give joy to both each other and audiences. Bravo!

Groundworks is noted for placing dance in unexpected places. Their venues are churches, parks, museums and the Akron Ice House. For eleven years the company has used the former site where blocks of ice were stored, starting in 1870, for use by the residents of the Tire City. This is not an ideal place to present dance. The lack of a raised dance floor, poor sight lines and lack of raked seating, cause problems. The venue became even more cramped when an overflow of people appeared for the Friday night performance. Fifty chairs had to be crammed in between the already seated audience and the stage, causing sight blockage. In spite of this, the appreciative assemblage got what it came for...a fine evening of dance.

The opening number, the world premiere of choreographer Jill Sigman's 'SPLIT STITCH,' was set to original music by Gustavo Aguilar. Dressed in white fragments of material created by costumer Kristin Davies, the dancers, displaying fine body control, effectively interpreted Sigman's desire to display the “splits and tensions within ourselves, our culture and our country.”

Each of the four-part movements, found the dancers displaying a different set of emotions. Coordinated and segmented moves, interaction, lack of interaction, lyrical and static bodily actions, all highlighted by Dennis Dugan's lighting which cast shadows and moved in coordination and discordance with the dancers, created a series of illusions. The last segment, which found Felice Bagley, standing mid-stage, repeating the same movement over and over as she mumbled incoherent phrases, climaxed a thought provoking piece.

The final piece, 'JUST YESTERDAY,' in its Akron premiere, was a recreation of a Dianne McIntyre choreographed number, that the company has performed before. It is a series of vignettes, based on stories being told by the dancers, which are recreated in movement. Nostalgia, joy, sadness, personal traditions as they related to food, hijinks, fads, movies, family, and people who touched the dancers' lives, flowed forth. Though sometimes hard to hear because of the poor acoustics, the over all effect was strong. The piece is highlighted by the live guitar presence of Phillip Smith and Dan Wilson who are choreographed into the movement. All in all, this is a fascinating selection, which got a wonderful performance

Capsule judgement: With the loss of Amy Miller, Groundworks moves to a new challenge, of continuing its high level of dance performances without its Associate Artistic Director. The company said goodbye to Miller with a fine evening of dance at The Akron Ice House.

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.

GroundWorks (Akron Ice House 9/13)

GROUNDWORKS presents Tenth Annual Concert at Akron’s Ice House

The Akron Ice House, where GroundWorks Dancetheater is performing its tenth annual production, is not the ideal setting for most arts performances. But the rough brick and cement walled, high ceilinged 1870 ice factory and storage unit, works well for this dance company, which thrives on audience intimacy and unusual settings. Groundworks has no home, per se. The community is its abode. The community of Trinity Cathedral, Cain Park, the Botanical Gardens, an outdoor stage in Lincoln Park. They all work for Groundworks.

GroundWorks’ mission is to develop and perform new works. Many are created by David Shimotakahara, the company’s artistic director, who for many years danced regularly with the company, but now makes less frequent appearances on stage. Others are created by emerging choreographer Amy Miller, who is also a company dancer and its Artistic Associate, and by guest choreographers.

The present evening of dance consisted of three pieces. The selections were each based on a theme and joint creations between choreographer and dancer(s) and/or musicians.

‘TIPPING POINT’ found Felise Bagley, Amy Miller, Sarah Perrett, Kelly Brunk and Damien Highfield, mainly seated on the floor, exploring isolation and group mind interactions, with little physical contact. Costumed in brown pants and blue tops, the ensemble jerked and twitched forward and back, from side to side, sometimes athletically lifting their bodies off the ground, and, on rare occasions, upright and moving around. Julie Keenan and Dennis Dugan’s lighting design allowed for odd-shaped shadows to appear on the roughly plastered side wall, developing a counter visual image to the dancers. The exhausting piece, which may have been a bit too long, was choreographed by KT Niehoff, with music composed and recorded by Sarah Murát.

‘VALANCE,’ in its world premiere, was choreographed by Amy Miller. Like Miller, the dance was athletic, powerful, and full of focused movement. Incorporating strong use of arms and body, there were unusual visual combinations of physical entanglements and out-of-the norm lifts and carries. The under-tow sound of running feet was often created visually, with both the piece’s starting and ending, consisting of actors in motion, first in a circle and then randomly. The “music,” which was composed and recorded by Peter Swendsen, was more electronic sound combined with human and mechanical interjections, than traditional music. As the program notes indicated, “’VALENCE’ began as an exploration of how dance could be music and music could become dance.” With this as the fulcrum for creation, the final outcome was a total integration of the two mediums. Miller’s choreography had the corps moving consistently in sync to the sounds.

The closing selection, Shimotakahara’s OPEN SEATING, from the company’s repertoire, creatively used four chairs positioned inside a square. The dancers moved over, under, on top of and beneath the seating to create a number of illusions. Basically five segments, it ranged from the powerful, to the operatic, to jazz, to the sensual and the nonsensical. Typical of Shimotakahara’s choreography, creativity and movement cohesion dominated. It was a nice conclusion to a fine evening of dance.

CAPSULE JUDGEMENT; GroundWorks Dancetheater, is one the area’s best dance companies. Its talented and well-trained corps work as a cohesive group, displaying total awareness of the needs of contemporary dance to create segment after segment of audience pleasing performances.

Groundworks 6/09

Groundworks great at Cain Park!

Groundworks has, since its inception 11 years ago, continued to prove that it is Cleveland’s premiere small troupe dance company. Their programs continue to be focused, challenging and well-performed. If possible, they outdid themselves in their recent Cain Park three-peat performance.

The Cain Park program consisted of three top notch works. ‘Allow,” choreographed by Artistic Associate Amy Miller, which, like Miller, was strong, purposeful and powerful. Initially performed with little physical interaction and touch , the dancers used static and gymnastic moves to eventually blend together, effectively executing lifts, and flying bodies to create an exhausting gymnastic number that well paralleled the atonal sounds of Dennis Dugan.

Choreographed by Alex Ketley, to the music of Bon Iver and Phillip Jeck, “For You,” was a flowing, interactive, audience pleasing creation. Really two dances of different style and purpose, the first segment was high powered, the latter a emotional section which was tenderly danced by Miller and Kelly Brunk. The ending was met with a screaming reaction of approval from those in attendance.

Shimotakahara’s “Boom Boom,’”in its world premiere, is a wonderful new addition to Groundworks’ repertoire. Danced to eight different musical pieces, each developed a unique perspective of jazz sounds and interactions between people. Highlight segments found Shimotakahara vertically dancing on the side of a wall in “Black Mattie.” Sarah Perrett and Damien Highfield climbed on, over and beneath each other while interpreting “Sitting on Top of the World.“ In “Today I Sing the Blues,” Felice Bagley and Brunk performed the entire piece without losing contact with the theatre’s back wall…quite a dance accomplishment.

When it has been necessary to “restock” his company, Artistic David Shimotakahara has an eye for picking new performers that fit the perfectionist mold of the troupe. His latest find is Kelly Brunk. Tall and handsome, with a sparkling personality that lights up the stage, the lanky blonde is in control of his body at all times. His lifts, gymnastic moves, gestures and eye contact, are well performed and purposeful. He’s a wonderful addition to Groundworks, as was Sarah Perrett, a short time ago.

Capsule judgement: Danceworks’ Cain Park 2009 performance was a total delight. What a treat! It was dancing and choreography at its best! Bravo!