Dracula and Oher Love Stories

Ohio Dance Theatre brings love to The Breen Center

When the Cleveland San Jose Ballet left town, it left a void. There appeared to be no regularly performing company that presented ballet. Yes, touring companies came in. Raymond Rodriguez and Karen Gabay’s Point of Departure popped up on occasion and gave hope for a return of a company that would showcase ballet.

What was overlooked was Artistic Director Denise Gula and her Ohio Dance Theatre, housed in Oberlin. Regularly appearing at Lorain County Community College, where Gula was the school’s first dance instructor, and making some west side of Cuyahoga county performances, the company brings a unique presence to local stages when it performs. Many of its numbers are ballet. Yes, pointe shoes, classic lifts and story telling ballet.

In their latest appearance in the Cleveland area, appearing at the Breen Center, the company performed to a nearly full-house on a snowy February 10 evening. The balanced program touched on various types of love….love of country, dreamy love, passionate love, obsessive love.

A new work, THE DREAM, choreographed by Lisa Lock, found the red, black and white costumed dancers moving to Ekectrocutango and Elecrotango. Staged with contemporary ballet movements, a dreamer and her dream characters created a fine parallel to the Latin moods and rhythms.

CARMEN, danced to the sensual music of Georges Bizet, was a fast paced, melodramatic vision created by Gula. It featured rapid moves, nice lifts and carries, and a variance from the usual CARMEN done with capes and bullfighting. The costuming worked well, except one can only wonder why Morgan Stinnet (Jose) was dressed in black chino pants, which was out of character and seemed to cut off his free flowing movements throughout the evening.

An excerpt from DRACULA, with music by John Pryce-Jones/Alfred Schnittke,

found the dancers performing in a gated-cemetery complete with gravestones and mysterious lighting. It was somber, dramatic and well fit the foreboding music. Kyle Primous was a visually imposing Dracula and Juliana Freude was a tempting tidbit for the bloodthirsty being.

BEYOND COURAGE was a tribute to World War II veterans, some of whom gave their lives while others suffered emotional scars, for love of country.

Set to video footage from composer Stephen Melillo’s THAT WE MIGHT LIVE, THEN, NOW. FOREVER., a documentary in music, the performance piece showed the battles of Bataan and Corregidor. The battle which lasted 3 years, 8 months and 25 days, resulted in 31,095 people losing their lives. Visual images and vocal transcriptions were seen and heard as the dancers moved.

A little overly long, BEYOND COURAGE was filled with melodrama and flag waving. The first part was powerful, but after an oral letter quoting segment, the effect wore off as more and more emphasis was placed on visuals and less on dancing.

The program was nicely balanced by two impressive interludes of music performed by the Credo String Quintet, a product of the Oberlin Conservatory’s Chamber Music Program.

Capsule judgement: Ohio Dance Theatre’s DRACULA AND OTHER LOVE STORIES was a nice balanced program of music, ballet and contemporary dance.

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

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

ALVIN AILEY amazes!

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

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

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

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

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

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

OHIO DANCE THEATRE presents multi-leveled program

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

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

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

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

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

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

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

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

ANTAEUS DANCE’S MOLT, molts

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

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

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

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

Season of Imagination-Ohio Dance Theatre (Ohio Dance Theatre)

Appreciative audience greets Ohio Dance Theatre

According to founder and Artistic Director, Denise Gula, “Ohio Dance Theatre is a professional ballet-based contemporary dance company that presents works with a strong theatrical element. The company’s mission is to enhance the quality of life in Northern Ohio by presenting quality arts productions of richness and variety, excellence and motivation.”

Based in Lorain County, the company reaches out of the area to spread its version of dance into not only Cuyahoga County, but nationally. One of its outreaches was its recent performance in the Playhouse Square’s Ohio Theatre.

An audience of approximately 500 responded very positively to the four pieces presented as the company’s ‘SEASON OF IMAGINATION.’

The opening number was Gula’s version of ‘FIREBIRD,’ with recorded music by Igor Stravinsky. The vague start failed to set a clear exposition of the dance’s central theme of the conflict between good and evil. These became clearer however as the piece progressed through Paula Drakes’s black and white costuming and the music. The separation might further have been accented if the dancers had more clearly physically and facially expressed their opposing roles. For example, the bad Minions, were not aggressive enough, their hand movements and facial expressions did not well develop their menace.

Ericka Shannon as Tsarevna was elegant. She is a talented dancer whose point work and physical control are excellent. She was nicely partnered by Damien Highfield as Ivan. Tito Reyes, who looks more like a football linesman than a dancer, was surprisingly light-footed as Kastchei, the Dark One, though he, too, needed more facial menace. His dance to death was well executed as were the fight scenes between him and Highfield.

Rejane Duarto as the Firebird was striking with her tall legs and erect posture. Again, as with some of the other dancers, she failed to portray the facial attitude needed to carry the part’s meaning.

A more dyanamic version of music should have been selected. The music’s power and tone did not fill the large theatre, causing for a lack of emotional involvement on the part of the audience.

The second selection, ‘LA PETITE MORTE,’ with intense and beautiful music by Bela Bartok, took the audience visually into high grasses to observe the life and mating of the preying mantis. Costumed in bug green, the dancers executed well Gula’s choreography which was nicely accented by Diana Nelson’s lighting. As with the opening selection, more varied facial expression would have aided in idea development. A combination of unusual lifts and body intertwinings were the highlights of the piece. The final destruction of the males by the dominant females could have been highlighted by a more aggressive conclusion.

The highlight of the evening was ‘LE CORSAIRE,’ danced to music by Stravinsky. Choreographed by Gula, the short piece was beautifully performed by Orlando Ballet’s Chiaki Yasukawa and Eddy Tovar. The petite couple glowed. Their partnering and solos were excellent. Yasukawa’s point work and turns were elegant, Tovar’s circle jumps and powerful leaps brought strong positive reactions from the audience. It’s too bad this piece was so short, as the audience was cheering for more.

‘WHO CARES,’ with choreography by George Balanchine and music by George Gershwin ,was a wonderful ending segment to the program. Dancing to the cosmopolitan sounds of such musical compositions as “Fascinating Rhythm” and “I Got Rhythm,” the company and audience alike enjoyed themselves immensely. Especially outstanding were Ericka Shannon and Fidel Garcia. Garcia displays a nice sense of contemporary moves along with balletic competence. His cocky attitude fit perfectly the pieces he danced.

CAPSULE JUDGEMENT: Ohio Dance Theatre is attempting to reach out beyond its Lorain County home and be a more regional company. Without a permanent company it is often hard to develop a clear identity, but they are succeeding on many levels. Gula’s reputation and ability to attract guest dancers helps broaden the base of the company.

Journey: The Story of Umoja (Ohio Dance Theatre)

'JOURNEY' a good lesson in African-American History

Ohio Dance Theatre, under the able guidance of Artistic Director Denise Gula, is noted for its
dancing. That’s what they do best. The company decided to broaden its mission and develop a
presentation that would serve as a staged educational experience. Gula, who has a strong background as a theatrical director and actress as well as choreographer, chose the topic of the plight of the African American. Appropriately, JOURNEY: THE STORY OF UMOJA is being presented in area venues during Black history month.

Much like Martin Duberman’s play IN WHITE AMERICA, JOURNEY exposes the audience to a trip from slavery to the civil rights movement and beyond. This is done through words, dance and song. Unfortunately, the singing and dancing are much to brief and often the words are much too much. There are several long periods where only words are present. Normally, this
would not be a bad thing, but the dancing and singing were so well done, so powerful, that when words were used alone, the production slowed down.

As is, students who see the production, and there are many who will see the show at both the Cleveland Play House and Lorain County Community College’s Stocker Center, will gain an insight into the plight of African Americans, and be exposed to the thrill of live theatrics. It’s too bad that Gula was not able to incorporate dancing throughout, even when the speeches of such historical figures as Martin Luther King, Barbara Jordan. and Medgar Evers were being presented. It would have made the experience even more powerful.

Capsule judgement: The cast is excellent. The visual images are generally engrossing. The study guide that accompanies the performances should help teachers and students learn history in an interesting manner.

Midsummer Night's Dream, The Ballet (Ohio Dance Theatre)

Ohio Dance Theatre presents 'Midsummer Night's Dream: The Ballet'

Ohio Dance Theatre, which is housed in Oberlin, recently completed its inaugural summer series at the Cleveland Play House. Normally the company performs at Lorain County Community College and has developed a very large following there. According to Artistic Director Denise Gula the company attracted a new base while in residence at the nation’s oldest professional theatre. As always happens with groups new to an area it takes a while for the word to get out, so audience size was generally smaller than the company is used to getting in its “real” home. Cleveland’s economic woes, which have strongly affected other arts organizations, did not help the situation.

Founded in 1992 by Gula, the company’s mission is to “enhance the quality of life throughout the northeastern Ohio area by offering quality dance performances and educational programs.”

Due to Gula’s strong drama background as an actress and director, the company is one of the few in the country which incorporates theatricality into their program. For example, their recent production of ‘MIDSUMMER NIGHT’S DREAM’ consisted of a blend of dance and spoken dialogue.

A theatrical production in two acts, ODT’S ‘MIDSUMMER NIGHT’S DREAM’ uses as its theme the Shakespeare play of the same name. It is danced to the music of Felix Mendelssohn. Blending spoken dialogue with dance, it makes for an interesting evening of entertainment.

Allen Schissler and Jody Skye danced well as Oberon and Tatania, the king and queen of the fairies. Their closing duet was outstanding. Though he could have displayed a little more pixie quality, Alfiero Supan made a nice Puck. The Fairies formed a beautiful corps, with good point movement and excellent timing of the group movements.

Capsule judgement: Ohio Ballet Theatre is a small dance company which seems to be headed for a bright future.

Journey (Ohio Dance Theatre)

Lorain County's Ohio Dance Theatre at CPH

Denise Gula is a fascinating woman. She is not only a creative choreographer, but, fighting against the odds, she has become a very successful dance producer. Her Ohio Dance Theatre, which is housed in Oberlin, is taking a giant leap forward when it presents three performances of 'JOURNEY' at the Cleveland Play House. The piece, an original work of musical theatre, chronicles the historical, emotional and spiritual evolution of African Americans from slave days to the present.

The fact that this is a theatrical dance piece should be of no surprise to Gula’s many followers. From her years as a dancer and performer at Karamu House, to her North Ridgeville High School acting days, to her successful career as an actress, director and founder of the Lorain Community College dance program, and choreographing of many community theatre musicals, she has always combined her acting and dancing background in her work.

'JOURNEY' has been a four-year labor of love. As Gula says, “Like so many projects in this arts climate, it was born of necessity. Financial constraints compelled me to develop a piece using the only dancer I had, a dancer who happened to be black.” She goes on to state, “I thought of making a celebration for Black History Month. Brian Lankar’s photo book about black women 'I DREAM A WORLD' was the source of visual inspiration.”

Capsule judgement: The original piece was 35-minutes long. Now, it is a full-length production. And, it is a production of substance. As one reviewer stated, “this ia a fast-paced show that is worthy of being done on a national basis.” Knowing Gula, and her past history of confronting issues straight on, don’t be surprised if a national production doesn’t follow!