Black Grace Dance Company

UMass, Amherst, MA
www.fineartscenter.com
by Amy Meek

March 9, 2010

"I am proud to be a Pacific Islander, a Samoan. Equally, I am proud to be a New Zealander, a Kiwi...Despite our struggles, it is in this land and under these Gathering Clouds where I will learn, live and love." These words from choreographer Neil Ieremia are used to describe one of the dances in the program by the Black Grace Dance Company, but they can just as easily summarize the content of the entire show. Ieremia's work fuses his native Samoan roots with his acquired Westernized training to create a unique and vibrant dance form. The dances reflected elements of Samoan culture as well as those of nature and family.

The dancers' movements were athletic, yet artistic -- alternating fluid with percussive moments. The troupe manipulated rhythms through the use of the traditional Samoan dance called Fa'ataupati, in which they furiously slapped their hands together and on their bodies in unison to create complex sounds along with vocalizations. This dance was an intense moment -- amazing to watch as the speed and precision with which the dancers moved was lightening fast.

One of the highlights was Ieremia's personal commentary about every piece in the program. It is not often that the choreographer speaks directly to the audience about his experience in creating the dances, but his insights gave those in attendance wonderful vision into his process. He spoke of the challenges of growing up in his Pacific Island culture and his desire to defend that culture from societal criticisms. His words and choreography showed hope amid change and the celebration of a changing culture of people.

Shangri-La Chinese Acrobats

Mahaiwe Arts Center, Great Barrington, MA
www.mahaiwe.org
by Amy Meek

The Shangri-La Chinese Acrobats thrilled and delighted the large audience of the beautiful Mahaiwe Arts Center with a show that successfully combined amazing acrobatic feats with both colorful spectacle and humor. The troupe, which was comprised of young performers who displayed immense skill and agility, took the audience into a magical world and gave them a glimpse of Chinese cultural tradition.

Some of the highlights of the show included a chorus of female acrobats who made use of props such as spinning disks and candles to demonstrate their amazing strength, balance and flexibility. They contorted their bodies in superhuman ways while spinning and holding the objects and balancing them off different parts of their bodies. In one number, the performers were roller skating on a platform using extreme speed and precision to keep themselves on balance while getting into many formations. In "Awesome Adagio" a boy and girl danced together, and he lifted her high above his head while she balanced on his shoulder on the tip of her toe.

The use of bright colors in the show helped to create an exotic atmosphere, especially in the number "Diving Daring Do," which used five acrobats inside three Chinese dragons to enchant the audience. They made the dragons come alive and took the audience into a timeless experience of Chinese tradition. The use of scarves, flags and bright costumes also enhanced the theatricality of the performance.

Finally, the humor that the troupe used made the show a pleasure to watch. They used audience interaction and alternated the intense acrobatic moments with moments of comedy, never taking themselves too seriously. This show was truly a magical and awe-inspiring journey into an evening of suspense and wonder.

Doug Varone and Dancers

Jacob’s Pillow, Becket
www.jacobpillow.org
through August 16, 2009
by Emily List

Since the founding of his company in 1986, choreographer Doug Varone has cultivated a reputation for creating a diverse body of work that projects varied facets of the human condition. “Castles,” the opening piece for Varone’s company at Jacob’s Pillow, emphasizes the intrinsically faulty aspect of human nature. The movement appears deliberately unrefined and loosely controlled. Company members continuously push the boundaries of suspension, stylistically shifting in the blink of an eye from balletic arabesques to moments of collapse in which all body weight is heavily transferred to the floor or a fellow dancer. For the most part, “Castles” keeps the dancers’ collective center of gravity close to the ground, the lifts and leaps seemingly weighted down by heavy-hung shoulders and curved torsos. The sense of being grounded is aided by Prokofiev’s often menacing “Waltz Suite, Opus 110.” Varone’s expertly danced choreography fills every note with theatrically charged movement as different dancers pulsate to match each rhythm, instrument and tone of the piece.

The performance’s dark, brooding tone continues in “Short Story,” a piece that explores the emotionally twisted relationship between two distraught lovers. Beautifully danced by Daniel Charon and Natalie Desch, “Short Story” is captivating for its moments of stillness and tension, underscored by Rachmaninoff’s “Prelude in C.” Everyday movements such as a chin cupped in a hand are infused with heartbreaking drama.

The pure joy and ecstasy of dancing is not evident until the last piece. “Lux,” danced to Philip Glass’ “The Light,” finds the company suddenly light on its feet and frolicking joyously together under the glow of a rising moon. The fast-paced athleticism is irresistibly coupled with a sense of fun; dancers parting and coming together in a way that is reminiscent of an old-time hoedown. While the tortured movements of the first two pieces reveal Varone’s unique vocabulary in the dance world, the contrast of "Lux’s" exalting, sweeping movements prevents the program from becoming emotionally overbearing.

The Disappearing Woman

Berkshire Fringe
Daniel Arts Center, Great Barrington, MA
www.berkshirefringe.org
August 3, 2009
by Emily List

The Disappearing Woman was a visually captivating collaboration between four acclaimed performers and the digital media practices that drive their actions. The program, choreographed and danced by Nell Breyer, Alissa Cardone, Lorraine Chapman and Bronwen MacArthur, addressed problems of self-expression in a world where the self is constantly manipulated and reconstructed through video-imagery, digital photos and other technological forms. Just as images of the dancers were elongated, fragmented, inverted and projected on the walls of the auditorium, the women's movements constantly shifted in nature, from elastic arm extensions and fluid arabesques to stilted, jarring walks and violent drops to the floor. More often than not, digital media threatened to envelope the human forms completely.

The ways that digital media can lead to the disappearance of the individual self was a strong message projected throughout the show. Equally strong was the idea of transparency. Immediately upon entering the theatre, the audien was subjected to mediated self-scrutiny, a live-video recording capturing images of the spectators entering the space reflected on a screen opposite the seating area. In a dance that is punctuated by sharply executed pivots and elbow-jabs, the four women moved to the recording of a cell-phone message. At first, the words stood out and it was possible to follow the speaker's train of thought. As time went on and the dance and the message became more harried, the movement and the words blended together, the anxious babbling becoming background noise that set the rhythm for the choreography.

The sound, designed by Justin Samaha, was largely dialogue spoken by the performers or the Slovenian author Renata Selcl, speaking on the "Tyranny of Choice." The Disappearing Woman, with its live and recorded video projections occurring simultaneously with the live choreography and frequent costume changes, presented the audience with the dilemma of choosing where to look at any given moment. While the digitally recorded dances provided a visually compelling backdrop, it would be a mistake to ignore the live performances that do not disappoint in their theatricality, technical precision and playful energy.

Groupe Emile Dubois

Jacob's Pillow, Beckett, MA
www.jacobspillow.org
through July 19, 2009
by Stacy Ashley

After 22 years, choreographer Jean-Claude Gallotta returned to the U.S. with his company Groupe Emile Dubois. The piece presented, Des Gens qui dansent translated to 'people who dance'. The overall concept was that dance can come from our everyday lives in the form of everyday people, which is a belief that Gallotta's troupe can attest to -- his company of ten spans 40 decades and varies in sizes, shapes, and abilities.

While there were some poignant moments, just as in everyday life, some were also disappointing. One of the highlights was a pas de deux between two older dancers (Martin Kravitz and Christophe Delachaux) that was honest and witty. It looked and felt real. There was also a quartet with Thierry Verger, Ximena Figueroa, Cecile Renard and Camille Cau that contained some of the best choreography of the evening with long extensions and clean lines.

While the varying abilities perpetuate the overall concept, it was distracting to see the lack of technique and training in some of the dancers. Also distracting, was the audio. Gallotta walked across and around the stage speaking a gibberish language. Layered throughout the music and incoherent mumblings were extra noises -- popping, humming, crackling and other sounds, none of which were in sync with one another.

Although the technique may have been lacking, the energy and honesty was not. The dancers in Groupe Emile Dubois shared with the audience their inspiration and passion to dance and that yes, everyone can and should dance!

Ballet Maribor

Jacob's Pillow, Becket, MA

www.jacobspillow.org

through July 5, 2009

by Amy Meek

Jacob's Pillow Dance Festival's Ballet Maribor's Radio and Juliet demonstrates the Pillow's dedication to promoting international cultural exchange of talented companies. Ballet Maribor, a prominent European performance company from Slovenia, mixes both classical and contemporary ballet styles. Choreographer Edward Clug, takes Shakespeare's universal love story Romeo and Juliet and reinvents it in a refreshing, yet unexpected way. Clug's ballet shows the universality of the themes of love and aggression, adding the possibility of nontraditional perspectives. The audience seess Juliet's thoughts as Romeo dies, and what may have happened if she had lived.

?Set to music by Radiohead, this alternative rock band's sound is characterized by its dark quality and heavy use of guitar and electronic instruments. The music provides the ballet with moments of lushness as background for Juliet's desperation, while at other times pulsates with hard-core intensity during the men's group dances. The songs propel the dancers through the story, sometimes in harmony and sometimes in disparity, as they seem to be controlled by the music against their wills.

The troupe is technical and beautiful in its movements. Tijuana Krizman (Juliet) shows her struggle between convention and passion as she alternates with individual, isolated movements and supported movements with the male dancers. She has a clean, fluid style that expresses Juliet's intent as she navigates her own way through the ballet. The men, who alternate playing Romeo, demonstrate the more vigorous and forceful qualities of masculine group behavior in an orderly chaos dancing against the robotic music with spasmodic, yet graceful motions. They stand separate at times, but suddenly come together in a united chorus.

The combination of the superb dancing, mesmerizing choreography, compelling music, and artistic audiovisual effects make Radio and Juliet a unique dance experience. The audience is drawn in and then pushed in multiple directions. The experience forces them to leave familiarity behind and to look at new ideas within the context of Romeo and Juliet, while at the same time never overlooking the timelessness and universal themes of the story.

Paul Taylor Dance Company

Fine Arts Center, UMass, Amherst
by Stacy Ashley

One of the world’s most renowned choreographers revived three popular classics that helped shape what contemporary dance is today. Spending six decades in dance, Paul Taylor brought his creativeness to a new audience.

Arden Court opened the evening with romantic elegance set to music by Baroque composer, William Boyce. With a background reminiscent of local artist Donna Estabrook, the dancers braided themselves within one another moving through syncopated jumps and turns, to simply walking across the stage.

As much as Arden Court was about love, Eventide was about love lost. Set to the bittersweet Suite for Viola and Orchestra and Hymn-Tune Prelude, the dancing focused on couples coming together only to be separated in the end. One of the most poignant moments came at the end when couples walked toward each other in a line, but were then pulled apart by an unseen force. The final couple reached for each other, but only in vain.

The last piece, Le Sacre Du Printemps (The Rehearsal), was quite different from the previous two, and shows off Taylor’s sense of humor. The context is a ballet company rehearsing for a detective-type ballet. There were the usual characters --The Girl, The Private Eye, The Crook, The Mistress, Henchmen and Police etc. Although it became difficult to discern the many layered plots, the dancers infused each character with real emotion. Just like a real Whodunit, there were surprises and twists that evoked shock and laughter.

With a collection of over 128 pieces, Taylor might want to consider his new audience and bring back even more!

Trey McIntrye Project

Jacob's Pillow, Becket
August 23
by Colleen Moynihan


What makes an artistic endeavor great, enjoyable or memorable? In dance is it the choreography, the personality of the dancers, the marriage of music, form and energy? Jacob's Pillow ended its 2008 season with a new dance ensemble, the Trey McIntrye Project, that absolutely delighted the audience on every level.

Artistic director/choreographer McIntrye has been recognized as an innovative choreographer since 1989. His troupe combines the discipline of classical ballet and the energy of modern dance.

The program opened with a quiet, tender piece, "Surrender," a world premiere. The dancers captured the audience with an engaging interpretation of 60's music by Carole King and John Lennon interspersed with Tschaikovsky's "Dance of the Mirlitons". It was easy to follow, pleasant to view; athletic but simple.

Another premiere, "Leatherwing Bat," featured John Michael Schert, the image of American youth. His ability to move in space around the other dancers while containing himself without any rigidity was compelling to watch and added depth to the story.

The unique style of the Project lies in its use of intricate interlocking body movements that lead to subtle interpretations of space -- vertical, horizontal or within the personal realm of self. Their closing piece demonstrated this skill by seamlessly combining the elements of classical ballet and modern dance. Four women were on point; four men executed their roles in vibrant modern dance tradition. The result was a mix of physical dynamism and restraint that was elegant, energetic, playful and sensuous. Dvorak's "Serenade in E, Op22" sounded ever so sublime augmented by the visual interpretation of the dancers, also providing a rollicking background to the ensemble's effective play on form through body movement and varying spatial effects.

The troupe's strength is in its modern dance elements: athletic energy and control. The classical ballet movements are safe and correct but lack the stretch, height or stamina associated with electrifying ballet. McIntrye's integration of the two dance forms increases the interpretation opportunities and delights the viewer with the results.

Ballet Boyz

Jacob’s Pillow, Becket
though July 20
By Stacy Ashley

Founders of Ballet Boyz, Michael Nunn and William Trevitt, are changing what it means to "go to the ballet." Oh yes, audiences will still see ballet greatness -- both were former leading dancers with The Royal Ballet after all. However, also prominent will be more familiar sense of who they are through video snippets that precede each piece. Throughout the videos there's a look at a day in the life of Ballet Boyz. They are funny and real, from joking with each other to running up the steps a la "Rocky" in Philadelphia. There is even some footage of a friendly bear when they arrived at Jacob’s Pillow!

The first piece and one of their most popular, “Broken Fall,” is a visually stunning showcase of the strength and stamina of Nunn, Trevitt and Oxana Panchenko. Each movement is a catalyst, connecting the dancers as they play with balance, support and trust. At times, Panchenko is balancing on shoulders, legs and even hands. She is beautiful to watch and provides some truly breath-taking moments.

The second act began with “Edox,” performed by Panchenko and Tim Morris. Set to music by Ezio Bosso, this piece was strong, precise and powerful. In a sensual piece performed by Nunn and Panchenko, “Propeller” shifts from fluid movements to sharp, aggressive accented legs and arms. Nunn and Panchenko once again offered surprises with unpredictable partnering.

In the finale, the Boyz danced a tango…with each other. “Yumba VS Nonino” is filled with pratfalls and fake punches, showcasing their comedic versatility along with strong technical dancing. It is fun and entertaining and a fine way to end a "night at the ballet."

Garth Fagan Dance

Jacob's Pillow Dance, Becket
through June 22
by Rachel White

Opening the 76th season at the legendary and historic Jacob's Pillow, Garth Fagan Dance showcases their unique style and choreography to Western Massachusetts' dance enthusiasts to enjoy in a rare and treasured evening. Tony Award winning choreographer Garth Fagan brings his signature piece "Griot New York" and offers audiences a glimpse at his vision displayed in a wonderful blend of Caribbean, African, Modern and Ballet styles of dance.

Originally staged in 1991, the evening begins with distinguished set design, performed to the music of Wynton Marsalis and continues on a wonderful journey into the mind of a great crafter of dance choreography. Dancers perform with intense concentration and focus, drawing the audience in the minute the curtain rises. Notable and enchanting, the third segment of the first act, "Spring Yaounde," is a beautiful performance by Fagan's rehearsal director and "muse" Norwood Pennewell with Nicolette Depass. Sensual and passionate, the pair are both athletically and artistically sculpted, and demonstrate a deep and emotional connection throughout the intense choreography.

The second act begins with a personal piece performed by the Company, "The Disenfranchised," depicting the constant struggle between art and AIDS. A lonely and desperate piece, the choreography displays amazing intensity and strength, while bringing beauty with each detailed movement. Continuing on a lighter note, it guides the audience through a series of segments that display dance on a global stage, blending traditional dance with cultural history. Dancers are fabulously gifted not only on an aesthetic level, but also on an emotional level as they show a deep commitment to their craft.

It is an amazing thing to be in the presence of an industry leader and his vision; Garth Fagan and his company bring this wonderful opportunity to Jacob's Pillow. Though unique, the bill may not be for the novice dance lover, however the chance to view a piece that is and will be treasured for generations to come, should be embraced and celebrated to those fortunate enough to enjoy the experience.

Hubbard Street Dance Chicago

Jacob's Pillow
August 22
By Rachel White

Wrapping up their 75th season, Jacob's Pillow Dance Festival welcomes world renowned Hubbard Street Dance Chicago to the Ted Shawn Theatre. Respected as "America's Dance Company" for their popularity throughout the country an around the globe, the contemporary company brings a wonderfully diverse repertoire to the stage.

Opening the evening, the first of five pieces is titled Baker's Dozen, choreographed by the widely famous and beloved Twyla Tharp. Set to solo piano music, the work is playful and flirty, while it is performed with the precise technique the company has been famed for. The second work, Kiss, is innovative and intensely passionate. Staged with dramatic lighting, the two dancers are suspended by rope harnesses throughout the entire piece. Telling an incredible story of the highs and lows a romance endures, the work is crafted with deep emotion and personal conviction.

Lickety-Split is the third performance on the evening's repertoire. Choreographed by company member Alejandro Cerrudo, the piece is set to the unique music by songwriter Devendra Banhart. This sensual and playful work is peppered with delicate gestures amongst the beautiful lines and shapes created by the three talented couples. Passomezzo, the fourth number, is dynamic and wonderfully athletic. Performed by a perfectly paired couple, the duet tells an emotional story of the give and take a romantic partnership requires.

The final work of the evening, Gnawa, is by far an amazing and breathtaking journey to experience. Danced by seven couples, all tremendously talented with beautifully sculpted bodies, the work is crafted with captivating energy and grace. Formations and lines are endless throughout the piece, while the seductive fluidity is simply inspiring to watch. The piece truly exemplifies the beauty and art that the human body can create through movement.

Hubbard Street Dance Chicago is truly a company that continues to evolve and amaze through the years. A force to be reckoned with on the world stage of dance, they are sure to leave their audience inspired and in awe long after the curtain has closed.

Mark Morris Dance Company

Jacob’s Pillow
Aug. 7-11
By Stacy Ashley

The Mark Morris Dance Company returned for the Pillow’s 75th Anniversary Season with four pieces. Recognizing the opportunity to put live music with live dance, Morris invited musicians and vocalists from the Tanglewood Music Center. There is just something about having live music with live dance that makes it so much more.

The first two pieces were recently premiered and are nice additions to long list of works by Morris. In Italian Concerto the dancers move with precision performing trademark steps- the syncopated movements and the pendulum type swinging with arms and legs. I
In the piece Looky the dancers drift on and off the stage becoming either onlookers or the exhibit itself at a museum. Dancers move from one tableau to another, while other dancers perform ballet moves with mock histrionics. Morris, known for his humor and satire, didn’t miss the opportunity for some of the dancers to then become critics as they scribbled notes onto an imaginary notebook.

The last two pieces performed were Candleflowerdance and Love Song Waltzes. Candleflowerdance is a beautiful piece set to Stravinsky’s ‘Serenade in A’. The stage is set with scattered lit candles and flowers in a vase. The lighting is subtle to accentuate the mood. The six dancers push, pull, lean and collapse against each other, another Morris specialty. In Love Song Waltzes dancers shift through different partnering, moving across the stage creating formations that fold into one another. A witty and sentimental statement about love, Love Song Waltzes, was a beautiful way to end the evening.

Ballet du Grande Theatre de Geneve

Jacob's Pillow
August 1
By Rachel White

Staying true to founder Ted Shawn's vision and promise to bring the world's most innovative and diverse dance companies t Jacob's Pillow, the world famous dance community welcomes Ballet du Grande Theatre de Geneve to it's main stage this week. Performing two original pieces for their U.S. debut, the Switzerland based company bring a taste of the European dance scene for art enthusiasts to enjoy.

Opening the evening with Para-dice, the piece is performed with six dancers, all beautifully trained with exceptional classical ballet technique. The choreography, however, is anything but classical ballet. Crafted to demonstrate the dancers diversity, the contemporary work is performed to a variety of music, ranging from wildly exotic to tearfully beautiful. The dancers are fluid and dynamic all in the same moment and the symmetry of the lines and formations are molded with true artistic talent.

Loin is the second work performed of the evening and is a very diverse and complex piece of choreography. As a former professional dancer, turned educator and choreographer, this critic was awe inspired with the array of creative and passionate energy of which this piece was brought to life. Peppered with amazing timing and synchronized patterns, Loin is performed with beautiful athleticism and technique. A section that should be celebrated is performed wit two couples, all gorgeously trained and sculpted. A very modern twist on the classic pas de quatre, the couples demonstrate sheer grace and fluidity.

Ballet du Grande Theatre du Geneve brings a beautiful evening to their audience from the minute the curtain opens and leaves a lasting impression long after the evening ends. Though geared for the open minded dance enthusiast, the company brings a wonderful glimpse into the world of European dance and is sure to be enjoyed by all who venture into this rare and unique performance.