Review: Circa Contemporary Circus: Wolf

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

by Shera Cohen

Although not its first visit to Jacob Pillow, Circa Contemporary Circus’ performance for one week on the stage at the Ted Shawn Theatre was, with no hesitation, the most creative, awe-inspiring, and unique dance event at this noted venue this season. No wonder the full house.

 

For those familiar with many versions of Cirque de Soleil, Circa is similar in execution. This may be a fine point, but while Cirque is entertainment, Circa is art.

 

Circa is one of the world’s leading performance companies. Since 2004, its base has been Brisbane, Australia. From there, the troupe of 10 (5 women and 5 men) has toured in 39 countries on six continents to over a million people. They have performed throughout the world at leading festivals and at prominent venues.

 

Founder Yaron Lifschitz termed Circa as an ensemble of exceptional, multi-skilled circus artists.

If this is a new form of contemporary dance style, bring it on! It is powerful, emotional, and unique. Paraphrasing The Age Magazine, Circa is the frontrunner of the new wave of contemporary Australian circus, developing physicality to prove powerful.

 

Is this dance? Movement? Theatre, Circus? It is all of these at once.

 

The troupe’s long piece, including intermission, was titled “Wolf”. By the stances of the dancers and their simple skin-tight beige costumes with black or brown geometric shapes, it was clear that each individual on stage, or groups, did become wolves. These young, lithe dancers were able to contort and meld their bodies to become the picture of a single wolf.

 

Without trapeze or net, exquisite costumes or sets, the artists relied on each other’s bodies as steps in order to build mountain tops. How high can they go? A lot higher than anticipated. The trust that each must give to the group is incredible. All the time, these human formation images were made directly and swiftly before the audience’s eyes – far more than tricks; each was an artistic depiction of a wolf or wolves in different environments, moods, or habits.

 

At the start of the dance performance, Executive & Artistic Director, Pamela Tatge, briefed the audience on what was about to take place. In her introduction, she stated, “You will find yourselves asking, ‘How’d they do that?’” She was right.

 

Unfortunately, Circa’s week has ended. Yet, eight full concerts remain, including those by famous, respected troupes like: Gauthier Dance, Brian Brooks Moving Company, San Francisco Ballet, Ephrat Asherie Dance, Ballet Hispanico New York, Haang Yi:Ink, and ending with Hubbard Street Dance Chicago.

 

Dozens of one-shot dances take place on the outdoor Henry J. Leir Stage as well. The performers are soloists, duets, and ensembles. Like those on the two main stages, all are immensely talented professionals in their various genres which include: jazz, ethnic, ballet, traditional, and modern. Live music collaborations are the best programs, when two living art forms work together to create the best of both.

 

Jacob’s Pillow’s campus is serene and lovely, accentuating the performing arts in its theatres.

Preview: Author Talk, A Biography of Eleanor Powell, Springfield Native

Thursday, May 28, 2026, 7pm-8:30pm

Hope Center for the Arts

150 Bridge St., Springfield MA

FREE, open to the public!

Lisa Royere, co-author of a biography of of Eleanor Powell

will speak and show a video on her book.

Watch on YouTube

Preview: Symphony Hall, “A Taste of Ireland”

Symphony Hall, Springfield, MA

www.atasteofirelandshow.com

September 27, 2025

by Janice Daley Webb

Photo by Chris Hardy

When my mom died in 2013, I thought - I better start doing what I've always wanted to do, not just what I have to do. Life is actually pretty short to fit it all in.

I decided to take dancing lessons with the Claddagh School of Irish Dance at the John Boyle O'Reilly Club, Springfield, MA. Mary and Bill Quinn taught the wee ones to teens and adults. I joined the adult group. As an aside, it helped that the adults are taught downstairs in the pub! 

As a lover of Irish music and dance, it was a thrill for me to interview one of the dancers of “A Taste of Ireland,” Rochelle Hoffmann from British Colombia. Rochelle is a cast dancer as well as understudy for lead dancers. She is one of the dancers with the East Coast troupe.

Please tell me some background details of the troupe.
Rochelle: Brent Pace and Ceili Moore, both Australians as well as Champion dancers, toured professionally with other world-renowned companies. They decided 10 years ago to bring their own vision to the world stage.

There are many Irish step dance groups now that Michael Flatley opened the floodgates. How is your group unique?

Rochelle: A Taste of Ireland is unique as it entertains as well as tells the story of Ireland, from the Vikings to the Potato Famine to modern day. Our dance stories can be emotional for the audience. All music and tap are live; nothing recorded. We use traditional Irish songs such as “Danny Boy,” but some contemporary music as well.  

Tell me about the dancers.
Rochelle: It's an international staff: Australians, New Zealanders, Canadians, Americans, Irish, and English. People from all over. There are 14 dancers split evenly – 7 boys, 7 girls. All might perform nightly, depending on their health or schedule.

How long does a dancer tour?
Rochelle: I started in August, and I’m scheduled to perform until December, which is five months. Some dancers are here for their first year, some for their tenth. Dancing is  great physical exercise, but I find it's just as challenging mentally; to remember my spot and my steps.

What's your favorite number to perform?   
Rochelle: There are two acoustic numbers in the show. In one dance, the audience only hears the taps of the hard shoes making music. When that is performed perfectly, when everyone is in sync, that's a great feeling. 

How quickly must you learn your steps and keep your focus sharp for each show?
Rochelle: Getting ready for the West Coast tour, there are new people joining the cast. We'll have four days of rehearsal before touring. People learn differently, some by dancing, some by watching, some by taking cues from the music. 

You had said that you were also an understudy. What does that mean in a dance group?
Rochelle: Understudies have a tough job; they need to know their own steps and those of the Lead Dancer in case a call comes at the last minute to substitute. Usually, the need for a substitute is due to a dancer’s illness or injury. Taking care of our dancers is so important. If anyone has a physical issue, we may try to find a physical therapist locally to help work out the injury.

How do you stay healthy?  Fast food can be tempting on the road. 
Rochelle: This year my mates and I invested in an Air Fryer. We shop locally for carbs and vegetables; we eat pretty healthy, which is important.  

How do you relax after a performance.
Rochelle: We get out of a performance pretty late. I take off my makeup, stretch, and use ice packs - these rituals can be pretty relaxing in themselves. Then I might just turn on some TV to “veg” and relax enough to fall asleep. Hopefully, we can sleep in the next day.

Your show runs simultaneously for East Coast and West Coast tours in the US. How does the administration choose who goes to each side of the country?
Rochelle: We are assigned to whichever troupe works best for us. It's the same music and choreography on both the West and East coast. Sometimes, slotting a dancer to a troupe  depends on the physical height of the performers. The couples doing lifts need to be about the same height - tall boys with tall girls and shorter boys with shorter girls. [This can dictate which group they will be assigned.]

Any message you'd like to get out to the public? 
Rochelle: Of course, come see us. It’s a fun way to learn a little about the history of Ireland and very entertaining with great music and great dancing.

Personal Thoughts: Trinity Irish Dance Company

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

July 10 – 13, 2025

by Shera Cohen

I won’t pretend that I know enough about most genres of dance to pen a bona fide review of Trinity Irish Dance. Yet, merely writing that I enjoyed their performance certainly does not give the troupe enough credit.

From the point of view of a layperson, who are probably most of our readers, I watch dance for the excitement, drama and/or humor, envisioning a story of some sort. The group can be large or soloists. The text that I loosely interpret might be incorrect and only true for me. But that’s okay.

It was a treat for Trinity to celebrate its 35th anniversary at The Pillow. They are known for their strength and aesthetics; the combination was an even and delightful mix.

The two-hour program filled what looked like every seat at the Ted Shaw Theatre. No surprise. Ever since Michael Flatley brought “Lord of the Dance” to the world’s stages, every nationality instantly discovered what Irish Dance was all about. In fact, Trinity Irish Dance is often credited as a predecessor to “Riverdance”. 

Performing arts can be every bit as pleasant, emotional, and/or exciting to newbie audiences as much as to diehard, knowledgeable fans. Not that I am a daring person, but I have experimented with performing art forms, hoping that I just might like at least one or two. That was my expectation at the Irish Dance concert, going in with only one pre-conception: if the Pillow’s reputation of selecting only the best, then I was in for something worthy.

My expectations were well-founded. The approximately 25 young female and male dancers made for a lovely site. The first segment on the program was Irish as could be. Ah, this is what I came for. However, as the dances proceeded, there was one, unfamiliar, and very pleasant twist; these dancers smiled! I thought that was verboten. In addition, they used their arms above their heads, in front, and even touched each other. Step dance is known for its rigidity, but this concert proved that it was not mandatory. 

At the center of the program was a recently created piece titled “The Sash,” a black & white video coupled with the dance movements for a raw political story. This piece was bookended by two lengthy and far-less dramatic works.

This is to say that while I am not a dancer, only studied dance for 6-weeks at age 10, and have no Irish heritage, when given the opportunity, there is a lot of room in my life to experience the skills and beauty of a new (to me) art form. Try it…you will like it.

NOTE: While I didn’t have a chance to peak into the new Doris Duke Theatre, from the outside it looks very inviting. Maybe next time.

Review: Jacob’s Pillow, "Sarasota Ballet"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

July 16 – 20, 2025

by Janice Webb

On nearly any given day at Jacob’s Pillow, audiences can experience the talents of  professionals, students, and soloists along with lectures, video programs, and youth activities. Stay for one event, or the entire day.

Ted Shawn Theatre with the largest stage on campus hosted Sarasota Ballet for five days. Expectations of a typical ballet program were immediately set aside as soon as the curtain opened. Because nothing at the Pillow is typical. Expect the unexpected thrills and learning experiences.

In full-color, folk-fashioned grandeur of the Russian Imperial style, “Birthday Offering” accentuated the beauty and precision of classic ballet; envision ballerinas on toes, lyrical pas de deux. All were strong, talented, graceful dancers; men and women alike. The seven couples showcased each other, while also contributing just as much in their own right.  

It looked as if Evil won; yet how could that be? Or maybe Good dared to face Evil straight on? Dance, like other creative works, can be interpreted in numerous ways. In the last moments, Good turned toward Evil. Did Evil win? Or did Good dare to look straight in the face of Evil, like other creative works.

“Dante Sonata,” a ballet with a more contemporary feel, even though premiered during WWII, is still relevant today. To music composed by Franz Liszt, the audience pictured the struggle between Good, represented in shining White attire and Evil in black strapped attire. It's up to the audience to interpret the victor. Dance, like other creative works, can be interpreted in numerous ways. In the last moments of this piece, Good turned toward Evil. Did Evil win? Or did Good dare to look straight in the face of Evil?

Choreographer Jessica Lang was seated in the audience to celebrate her World Premiere of “The Lorenz Butterfly,” the final work in the Sarasota Ballet program. The Pillow’s director introduced Lang, advising the audience that Lang had launched into painting during Covid. Certainly, this was a creative outlet for a choreographer isolated from dancers.

Later, as the world opened up to gatherings of people, Lang chose to combine the two artistic genres – her talent as a choreographer with her own paintings, which eventually served as the backdrop of the ballet, shifting colors as dancers in variations of those same colors graced the stage. Nearly every pastel was on canvas replicated the colors worn by the dancers. 

 

REVIEW: Jacob’s Pillow, "Dance Theatre of Harlem"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through August 25, 2024

by Josephine Sarnelli

Dance Theatre of Harlem has remained true to its classical ballet roots, while breathing life into this program with infusions of R&B and funk. The versatility of this dance company allowed for a brilliant and varied program from four diverse choreographers.

To open the program, Robert Garland, new Artistic Director of DTH, choreographed “Higher Ground” to several genius works of Stevie Wonder. Although written half a century ago, the lyrics of the songs remain relevant in addressing socioeconomic and political issues. A thought-provoking program note written by Garland reads, “Higher Ground represents a Sankofa-esque reflection on our current time.”  Sankofa is a Ghanian word meaning to go back for what you have forgotten behind or learning from the past.  Garland may be referring to this on a cultural level, but possibly also to DTH’s mission of making ballet attainable to all. The optimistic lyrics of the song for which the piece is named address reincarnation and a second chance at life. This, too, could be referring to our global state of affairs or to DTH, in particular.

   

The classical training of the six dancers provided outstanding en pointe work and partnering. There were numerous overhead lifts, cabrioles and grand jetes to satisfy traditional ballet audiences, blended with jazz-like movements in keeping with the contemporary nature of the music. The choreographer brought the dancers together at the crossroads of ballet, funk and soul.

“Take Me With You,” a short duet choreographed by Robert Bondara, relied heavily on the athleticism and connection between performers Delaney Washington and Derek Brockington. Set to Radiohead’s “Reckoner,” the dance’s entrance and exit offer haunting acapella clapping. Unusually complex lifts were masterfully executed as their bodies seamlessly unite only to separate again. As with “Higher Ground,” this choreography might be making a commentary on world struggles or on a more simplistic level examining the cycles of interpersonal relationships.

Photo by Christopher Duggan

Balanchine’s “Allegro Brillante” was an exuberant performance to Tchaikovsky’s “Piano Concerto No.3.” With only eight dancers performing for 13 minutes, the piece is a concentrated indulgence into classical Russian ballet style. It was joyful and an excellent complement to the other nontraditional offerings in the program.

“Blake Works IV (The Barre Project, 2023),” choreographed by William Forsythe to songs written by James Blake, closed off the program. With its start date during the pandemic, the original choreography was created over Zoom and echoes back to the isolation of that period. Dancers entered and exited singly to a ballet barre located at the back of the stage. The distance of the barre from the audience and lack of connection of the performers with one another was appropriate for the pandemic era but grew monotonous for a live audience. The dancers performed exquisitely, but in a vacuum, to the soulful music.

Sankofa is symbolized by a bird that has its grounded feet facing forward, while holding an egg in its mouth as it looks backwards. Dance Theatre of Harlem remains faithful to its founders’ mission of ensuring classical ballet is accessible to all, while keeping it relevant for a new generation.

REVIEW: Jacob’s Pillow, "MOMIX"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 28, 2024

by Josephine Sarnelli

MOMIX identifies itself as “a company of dancer-illusionists.” The genre of entertainment it offers might best be described as a dance derivative, where the underlying value is based in the dance art form but is actually much more complex. The sixteen performance pieces demonstrate the troupe’s proficiency in theatrics, acrobatics, athleticism, inventiveness and humor.

Founder and choreographer Mose Pendleton formed MOMIX in 1981 as an offshoot of Pilobolus, which he had previously co-founded and performed with. A master in the use of dance props, he incorporates items as diverse as pool noodles, a table, strings of light and rolls of banner paper, as well as complicated constructions. Each choreographic work is a creative and exhaustive exploration of the potential for one such prop.

Both the costuming and lighting were an integral part of the visual effects. Using the stage as a canvas, Pendelton often relied on negative space to create his illusions. As an accomplished photographer, he crafted scenes for the audience to immerse themselves into to enjoy a burst of childlike imagination.

Photo by Jamie Krause

The opening and finale were high energy performances by the entire troupe. “Solar Flares” utilized props resembling painted pool noodles danced to the tribal music of “Mr. Mahalo Head” by Brent Lewis. The company worked well together to synchronize movements. In the closing piece “If You Need Some Body” each dancer partnered a life size rag doll that was humorously tossed about with frenetic movements.  The dancers all looked genuinely happy as they danced and responded to the audience’s laughter.

Seah Hogan performed two noteworthy solos, “Queen of Diamonds” and “Aqua Flora.”  In both she demonstrated her incredible ability to spin, first while suspended from the ceiling with bungee cords and in the second act wearing a prop that appeared to be strings of pearls.  She received recognition from the audience during the program and again during the standing ovation given to the entire ensemble.

A unique visual effect was offered during “Echoes of Narcissus” in which the soloist laid on a full-length mirror. At first it created a sensual illusion of two dancers, but the image turned into kaleidoscopic motions of arms and legs. The simplicity of the prop highlighted Pendelton’s ability to look at the world through different eyes.

In “Marigolds” the ruffled costume metamorphosized from flower petals surrounding the dancers’ faces to full length gowns. As with the other performance pieces, dancing was merely a vehicle for developing an illusion.  While lovely, the dancing was secondary to the choreographer and audience.

The magic of MOMIX was the continual flow of routines, each offering a distinguishing feature. The dancers were all very talented and deserving of the standing ovation. But Pendelton as choreographer-illusionist is the true genius behind this incredible ensemble.

REVIEW: Jacob’s Pillow, The Royal Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 7, 2024

by Josephine Sarnelli

The debut of the 93-year-old United Kingdom’s Royal Ballet at Jacob’s Pillow offers an opportunity to enjoy a performance of both classical and modern ballet of unchallenged magnitude.  For most in attendance, it is a once-in-a-lifetime event to see this internationally acclaimed troupe.  Jacob’s Pillow’s leadership must be commended for finding sponsorship to make this the company’s sole stop in the United States!     

The Ted Shawn Theatre, with its orchestra pit, allowed for live music by a string quartet and pianist for three of the nine pieces. The backstage doors were opened after intermission to further enhance the unique experience of dance on the Pillow stage.

If there is a word to describe the success of this performance, it is “chemistry.”   Observing the connection between the performers and the audience and among the dancers is a significant part of attending live dance.  The Royal Ballet has not only mastered the art of dance, but also these relationships in solos, duets and groups.  From the kiss by Lukas Brændsrød on the hand of Sarah Lamb in Balanchine’s “Diamonds” to the dropping of the rose by Giselle after saving the life of her lover, there was a feeling of intimacy in these performances.

Photo by Christopher Duggan

One of the highlights of the evening was the choreography by Kenneth MacMillan of the “bedroom” pas de deux from “Manon.”  Anna Rose O’Sullivan and Marcelino Sambé dance superbly with effortless overhead lifts, but it is the passion that they expressed through their dance that is most memorable.  Their magnetism made the embraces and kisses seem so genuine.

An excerpt of Franz Schubert’s “Death and the Maiden” was performed flawlessly by the string quartet for the performance by four male dancers entitled “For Four.”  The transitions were executed with precision; the athleticism and grace of the dancers was impressive.  Of note was the audience’s recognition of Daichi Ikarashi’s powerful performance, which included multiple grand jetés exploding across the stage.

For Isadora Duncan fans, the program included a solo dance choreographed in her novel and improvisational style.  It was danced to five Johannes Brahms waltzes that were beautifully performed by piano soloist Kate Shipway.

A lighthearted pas de deux from “Carousel” preceded the finale.  “Figures in a Landscape,” a world premiere choreographed by Wayne McGregor, had a futuristic texture with dissonant music and blinding lights. Without transition, the music abruptly changed to a more subdued score.  Unlike the other program selections, this piece lacked sincere connectivity among the dancers or with the audience.  Although technically well executed, the performance was a disappointing conclusion to an otherwise outstanding evening.

Unfortunately, the audience was not given an opportunity to applaud the entire dance troupe or musicians after the finale.  Had they been called back, they certainly would have received a well-deserved standing ovation, having lived up to their name of royal.

Review: Jacob’s Pillow, “Les Ballets Trockadero de Monte Carlo”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through June 30, 2024

by C. L. Blacke

 

World famous Les Ballets Trockadero de Monte Carlo opens the Pillow’s 2024 festival with a hilarious romp through classic ballets, bringing sheer delight and raucous laughter to audiences in their first appearance at the Ted Shawn Theater since 2010.

 

Celebrating 50-years of subversive and comic dance, the Trocks (as they’re lovingly called) were formed in 1974 in the wake of the Stonewall Uprising in New York City. Since its inception, the all-male repertory company has been providing a stage to male dancers of all shapes, sizes, races, classes, gender identities, and sexual orientations. No longer is classical ballet reserved only for the traditional, the aesthetic, or the elite.

 

The program opens with Swan Lake, Act II. True to its demanding choreography with all its precision and rigor, the Trocks’ version also brings their special brand of slapstick. Odette, performed by Colette Adae, tantalizes en pointe, perfecting a (sometimes exhausting) flutter of arms, barrage of bourrées and multi-partnered lifts despite being chased across the stage by the grimacing and overly dramatic Yuri Smirnov as Von Rothbart.

 

But it’s the corps de ballet that steals the performance. One dancer in particular, Anya Marx, whose upstaging antics play directly to the audience, provokes hoots of joy from the rafters.

 

As the lights dim after intermission, the Balanchine satire Go for Barocca showcases a complex weaving of dancers in simple black skirts, an intricate tangle of arms, and the sassy facial expressions of Holly Dey-Abroad.

 

Photo by Christopher Duggan

However, the program’s comedy isn’t just limited to the personas, wigs, and choreography. It encompasses missed musical cues, misplaced spotlights, and trick costumes as well. Perhaps one of the most famous solos in classical ballet (and in the Trockadero repertoire), The Dying Swan flaunts Olga Supphozova's panache, who dies a horrifying, tragic (and rather prolonged) death in a pile of molting feathers that is worthy of any Shakespearean actor.

 

And if the Trocks’ professional dancing skills ever come into question, the Paquita finale leaves no room for debate. From effortless grand jetés and fishtail lifts to a dizzying array of chaine turns and fouettés, their technical strengths are evident, especially in Varvara Laptopova’s graceful performance that rivals any traditional prima ballerina.

 

These men are more than just drag queen divas dressed in tutus. They proudly embody diversity, inclusion, and access to the ballet world (right down to the ballerina wearing glasses onstage); and the audience demands more.

REVIEW: Jacob’s Pillow, "Tulsa Ballet"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through August 27, 2023

by Josephine Sarnelli

Photo by Christopher Duggan

The debut of the 66-year-old Tulsa Ballet at Jacob’s Pillow offers an outstanding performance of contemporary ballet at its best.  Artistic Director Marcello Angelini wisely chose challenging choreography to highlight the technical proficiency and artistry of his troupe.  His 22 dancers are an international blend; 17 of them are from eight different countries.  Fortunately, the language of dance is universal.

    

The most moving piece was the finale entitled “Divenire,” which means “to become” in Italian.  It is choreographed to the inspirational piano piece of the same name composed by Ludovico Einaudi.  The dancers respond to the momentum of the music as it ebbs and grows.  Choreographer Nicolo Fonte has many dances being executed on stage simultaneously, all of which are beautiful in their own way.   Periodically it is as if enough energy is generated to catapult them into one unified ensemble.

The choreography calls for numerous daring overhead lifts, at which all the dancers excel.  In addition to just traditional partner lifts, there are instances of two dancers elevating a single dancer and several times when the entire group congeals to raise up one.  It is as if “to become” is not an individual awakening, but an activity that is best done by a team working together for achieving maximum potential.  The athleticism of the dancers was impressive.  The male dancers offered stunning grand jetés and tour en l’air.  These were almost overshadowed by the effortless aerial lifts.  Of interest was the costume design which put both male and female dancers in leotards that had sheer wide-legged pants pulled over them.  The ability for dancers to easily change costumes offstage added a pleasing variety to the performance.

There was a quirky four-minute choreography entitled “Pas De Deux from Ode” by Katarzyna Kozielska.  It was inspired by the interaction of couples during the pandemic.  There are humorous interludes with the dancers rejecting one another, only to be pulled back together again.

“Celestial Bodies” was choreographed by Andrew McNicol to a variety of music, which gives it breadth.  Overall, there was a feeling of ethereal, otherworldly movement. The aerial lifts create a feeling of spinning and there are moments when you feel as if you are on a galactic journey with music such as “Mothership” by Mason Bates.  The cast internalized the energy of the music and became like stars in the sky on the outdoor Henry J. Leir Stage.

The audience gave a well-deserved standing ovation to the Tulsa Ballet with hopes that Jacobs Pillow might invite them back again soon!

   

REVIEW: Jacob’s Pillow, "Dutch National Ballet"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 9, 2023

by Josephine Sarnelli

The debut of Dutch National Ballet at Jacob’s Pillow offers a varied program that demonstrates the breadth of this 62-year-old company, from traditional classical to contemporary ballet.  The wide range of techniques and physical demands in these choreographies could only be executed by outstanding dancers. The entire performance was flawless.  

Photo by Christopher Duggan

Three of the six dances were choreographed by Hans van Manen, the company’s resident choreographer.  The opening “Variations for Two Couples” highlights the simple beauty of form.  The sleek lines of the poses that each couple dances into are magnified by their basic costuming in leotards.  Although balletic, this is definitely not traditional ballet.  Some of the partnering is done in ballroom frame.  The four musical choices add a haunting allure to this award-winning piece.

“Solo,” a second of Manen’s creations, has an exhilarating quality as three male dancers individually explode onto the stage to perform solos.  There is a comic element blended with frenetic energy, athleticism and grace. 

The finale, Manen’s “5 Tango’s” to the music of Astor Piazzolla, begins with seven couples in appropriate costuming … women in black/red short dresses with men in black shirts and trousers.  That is where the likeness to traditional tango ends.  There is no foot play, leg wraps or molinettes as are found in traditional tango.  The second movement has one woman on center stage kneeling and surrounded by six male dancers with whom she individually dances. Perhaps this is a sly reference to the disputed theory that tango developed in the brothels of Argentina.  The fourth movement starts with two men dancing with each other, and later joined by two female dancers. This could be an acknowledgement of how men in Buenos Aires learned and practiced with one another before graduating to dance with women.  This tradition extended from the 1870’s until as recently as the 1950’s.  The high point of “5 Tango’s” occurs in the third movement in which Young Gyu Choi performs a breathtaking solo.   

Wubkje Kuindersma’s 2018 choreography “Two and Only” exposes the raw emotion of love that lingers long after a relationship has ended.  The two men partnering in this dance represent these universal feelings that afflict all relationships. 

“The Vertiginous Thrill of Exactitude” by William Forsythe is a parody of classical ballet … right down to the chartreuse disc-like tutus.  The speed and complexity of the movements offer both homage and rebuke of the classical dance form.

The 1949 “Grande Pas Classique” of Victor Gsovsky is revered as one of the most difficult pas de deux.  Its execution by Elisabeth Tonev and Victor Caixeta is noteworthy.  The overhead lifts appear effortless, as do the graceful fish lifts. The performance earned rousing applause both during the movements and at its conclusion.

Dutch National Ballet truly has something to offer to everyone! 

REVIEW: Jacob’s Pillow, "Mark Morris Dance Group: The Look of Love"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 3, 2023

by Josephine Sarnelli

Photo by Christopher Duggan

The return of Mark Morris Dance Group performing “The Look of Love” offered another opportunity to experience the Ted Shawn Theatre’s orchestra pit that debuted last August. Broadway star Marcy Harriell, accompanied by a live band, celebrated the music of Burt Bacharach. Audience members could easily have been satisfied with just a concert by the ensemble and vocalist, but the choreography of Mark Morris brought so much more to Bacharach’s music.

The hour-long program explored 14 of his popular songs from the 1960’s in an all-encompassing study of relationships. It subtly introduced the subject with a non-vocal rendition of “Alfie,” perhaps so the audience can subconsciously address the lyrics in their own minds: “What’s all about. Alfie? … Are we meant to take more than we give? … Without true love we just exist ...”  

The simplicity of the staging, a few brightly colored folding chairs and pillows moved around by the dancers, kept the audience focused on what is truly important. Even the costuming was basic, with gender neutral designs and colors offering a 1960’s vibe.  

The order of the songs played a strong part in the development of Morris’ theme. The innocence of “What the World Needs Now” had couples rotating through partners, as in round-dancing with some modest lifts. Conflict was introduced in “I’ll Never Fall in Love Again.” As the complexity of the relationships developed through the performance, so did the choreography. 

The dancers splashing through “Raindrops Keep Falling on My Head” had a Gene Kelly quality, reminiscent of “Dancing in the Rain.” Hypnotic formations were created in “Walk on By” as relationships broke down and dancers never connect. As the intensity of the program progressed, the entire troupe effortlessly performed multiple tour en l’airs and lifts by both male and female dancers grew more complicated. Execution to such complex choreography was challenging to recorded music, but clearly demonstrated the skill of these performers dancing to live music.

The lighting in “The Blob” created eerie effects. This unique song also had a place in the theme of relationships, as the entire core meta morphed into one organism. The finale of “I Say a Little Prayer” had the dancers connecting more intimately with one another, as the lyrics echoed that devotion is an element of true love.       

With an evening filled with pleasant surprises, the standing ovation brought the cast, Marcy Harriell, and Mark Morris onto the stage. The Mark Morris Dance Company was a thrilling start to the 91st season of Jacob’s Pillow Dance Festival. The Pillow invited us future audiences to return as often as possible.

Review: UMass Amherst Fine Arts Center, "Martha Graham Dance Company"

University of Massachusetts, Amherst, MA

fac.umass.edu

March 25, 2023

by Suzanne Wells

Even if one does not fully understand the abstract nuances of modern dance, the power and fluid grace of a Martha Graham Dance Company production is an experience to be appreciated. Presenting one and 1/8th of Martha Graham’s original choreographies, the Company returned to UMass for the first time in seven years to perform “Canticle for Innocent Comedians” along with highlights of the “Dark Meadow Suite,” and the debut of “Get Up, My Daughter.”

"The Canticle..." is a representation of nature. Eight vignettes representing the Sun, Earth, Wind, Water, Fire, Moon, Stars, and Death/Rebirth effortlessly flow one into the next. Originally choreographed by Martha Graham in 1952, inspired by a 1938 poem of the same name by Ben Belitt, the work has all been lost with the exception of Moon. The remaining vignettes, each choreographed individually by Sonya Tayeh, Alleyne Dance, Sir Robert Cohan, Juliano Nunes, Yue Yin, Micaela Taylor, and Jenn Freeman, incorporate the technically precise, natural movements for which Graham was known. The production is a remarkable display of the human body’s ability to move individually, as well as a melding of multiple bodies evoking images of the Hindu gods for creation and destruction, Brahma and Shiva. 

"The Dark Meadow Suite," also choreographed by Graham, was inspired by her study of Native American rituals. The dance is made up of tribal steps, with hints of kabuki and flamenco influences, as well as percussive sounds with the stamping of feet and the beating of thighs. Impressive for the strength and endurance required to produce and maintain the various poses, this dance is a sensual exploration to identify with oneself, one’s lover, and one’s community.

The debut of "Get Up, My Daughter," choreographed by Annie Rigney, was the unexpected highlight of the evening for both the audience and the performers, who literally finished the production hours before the curtain opened. This frenzied, passionate display of the universal struggle of woman to overcome hardship and prosper despite being shackled by themselves, and the men and women in their lives, is both historically disheartening and imminently optimistic. 

REVIEW: Playhouse on Park, "stop/TIME dance MACHINE"

Playhouse on Park, West Hartford, CT

https://playhouseonpark.org

March 24-April 2, 2023

by C. L. Blacke

photo by Zee Rubin

Stop/TIME Dance MACHINE is not just a string of hit-and-run dance routines; it’s a time-
travelling extravaganza. With its cohesive and imaginative storyline, the 18th annual all-original stop/time dance theater production features comedy, singing, and of course, dancing as award-winning choreographer Darlene Zoller disappears into a time machine seeking inspiration. Left behind, her dancers are forced to send delegate parties into the space-time continuum to find their fearless leader.

As the resident dance company of Playhouse on Park, stop/time dance theater is made up of 15 dancers and singers with full-time jobs and families, who dedicate their free time to doing what they love. And it shows in a big way. Each member commits to their role not only in nailing their steps but in their facial expressions as well. It’s hard to tell who’s having more fun—the dancers or the audience.

The program opens in a flurry of pirouettes with two numbers both before and after Darlene’s disappearance. David Lewis’s science lab set design features a backdrop of buttons, keyboards, junction boxes, and, of course, the time machine door. With delegates off on adventure, singer/dancer Victoria (Tori) Mooney stays behind to figure out a way to bring them all home safely. Visible at all times, the set anchors the storyline to the present day and creates a sense of urgency as scenes with Tori manning the controls are interspersed throughout, including one with her hilarious rendition of “Baby One More Time”.

Dance styles run a nonlinear gamut from a turn of the (20th) century synchronized swimming routine to a prehistoric tribal rhythm dance, from the 1920s Charleston to a futuristic “Dance Apocalyptic”.

Audience favorites include the foot-stomping, hand clapping, finger-snapping tap routines to “Sing, Sing, Sing” and “In the Mood”, as well as the heartfelt Act II opening duet, “We Are Never Getting Back Together”, sung by Amanda Forker and Rick Fountain. But by far, the standout full-group number, complete with MTV theme song and astronaut, is the Act I closer “Smooth Criminal”, a dance tribute to Michael Jackson performed in 1930s gangster suits and fedoras.

Will Darlene reunite with her dancers? Does she find inspiration? Or is she just out of time? These answers will only be revealed by attending this annual production worthy of many standing ovations.

REVIEW: Jacob’s Pillow, "Miami City Ballet"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through August 28, 2022

by Josephine Sarnelli

Photo by Christopher Duggan

The return of the Miami City Ballet brought with it a debut of the Ted Shawn Theatre’s new
orchestra pit.   In addition to offering a live orchestra for the first time at the Pillow, it also allowed for Balanchine’s 1934 signature work Serenade to be presented - which can only be performed with live music per the licensing agreement with the Balanchine Trust.  The newly enlarged stage accommodated the 26 dancers in this large production.

The program was a study of four very different choreographers.  Whereas Balanchine’s piece has remained ageless, the opening dance Diversion of Angels from 1948 by Martha Graham clearly looked dated.  The repetitive flexed foot leaps and fluttering hands, once cutting edge in the dance world, were tiring despite being performed to perfection.  The three couples, each embodying a different aspect of love – young and flirtatious, romantic and passionate, mature and enduring, worked well together.  The novel costuming of a legged skirt provided for fluidness and athleticism, particularly for Taylor Naturkas as young love.

The most moving work in the program was the world premiere of Geta, dedicated and named for a beloved, recently deceased instructor at the Miami City Ballet School.  Choreographed to Jacques Brel’s “Ne Me Quitta Pas” (Don’t Leave Me), the strong movements were exquisitely performed by Renan Cerdeiro.  His connection with the audience amplified the emotion of the piece.   The costuming of a long tunic over a nude unitard looked awkward and did not enhance the otherwise perfect routine.

Antique Epigraphs, a 1984 ballet by Jerome Robbins, is so named because it is performed to Claude Debussy’s suite “Six Ėpigraphs Antiques.”  The seventh section was a lovely flute solo by Linda Toote entitled “Syrinx.”  Performed en pointe by eight women invoking Greek goddesses, the fragility of the dancers might be discarded as an obsolete representation of femininity in today’s world.  However, the ability of each dancer to showcase her individuality as well as the group’s collaboration and support in partnering as duets and trios speaks of the modern woman.  The developpés were striking; the soft movements of their arms hypnotic.  Of particular note was their directional ability to have the audience focus from one side of the stage to another simply by turning their gaze in unison.

The finale Serenade was well chosen for the many traditionalists who enjoy classical Balanchine. The choreography, set to Peter Tchaikovsky’s Serenade for Strings, includes cabrioles, grand jetés and rond de jambe en l’air, which were all beautifully executed by the troupe.  The plot literally evolved during Balanchine’s rehearsals, who incorporated a late arrival of a student and the fall of another directly into the final chorography.  However, it takes a strange turn midway through when a “dark angel” enters and draws to a sad ending. The conductor joined the dancers on stage for a well-deserved standing ovation.

The Miami City Ballet brought to an end the 90th season of Jacob’s Pillow Dance Festival.  It was a spectacular year and we so look forward to the 91st!        

 

  

REVIEW: Jacob’s Pillow, “Hubbard Street Dance Chicago”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through August14, 2022

by Josephine Sarnelli

The program notes written by Maura Keefe, a Scholar-in-Residence at Jacob’s Pillow start off with: “Forty-four years ago, Hubbard Street Dance Chicago gave its first performance at a senior center home.”  In addition to reminding the reader of this incredible group’s humble roots, it offers hope to every aspiring local and regional dance troupe.  Although it has only been under the artistic direction of Linda-Denise Fisher-Harrell since 2021, the extraordinary performance quality, innovation and energy that audiences have come to expect is clearly still there.

Photo by Danica Paulo

As The Wind Blows, a new choreography, started off the program set to four pieces of music, varying from Copeland’s piano to Debussy’s flute to Tristano’s contemporary piano music.  In addition to being disjunct in its musicality, there was an awkward emotional solo amid the high-energy segments that seemed out of place.  The subtle off-stage change in the dancers’ jazz pants and footwear from red to grey midway during the production seemed without explanation.  The 14 dancers performed very well as a group, in solos and as couples.  The backlighting to the stage was very effective in highlighting each dancer’s form without being distractive.

The B/olero duet was executed with precision by Jacqueline Burnett and Simone Stevens.  It can best be described as “quirky,” from Isao Tomita’s electronic version of Ravel’s work to the dancers’ repetitive and somewhat mechanical movements.  Both the music and choreography became hypnotic until one dancer or the other would break away in an attempt at individuality

Schumann’s Symphonic Etude, Opus 13 was the catalyst for Little Rhapsodies.  The three male dancers offered outstanding solos and duets, in addition to performing as a trio.  This showcased their individual talents as well teamwork.  There was a comical element to the choreography; the dancers’ connectivity with each other and to the audience radiated this lightheartedness.  The stunning leaps and turns clearly expressed masculinity, yet never sacrificed grace and fluidness.

A dark street was the setting for BUSK, with the entire troupe garbed as hobos in hooded jackets and baggy pants.  “To busk” is to perform or entertain in the street for monetary donations and thus explains the clever name for this work.  The opening solo was almost mime-like with the addition of white gloves.  The soloist’s triple turns were magnificent and set a high benchmark for this piece.  The eight musical scores chosen for the routine were unique and outstanding in themselves. The Swedish Ett Bondbrollop (A Peasant Wedding) and Plume by Ljova were perfect for the group dances.  Amusements by Daniel Belanger, with it tap like percussive, was ideal for a solo.  Several times during this work the 14-member ensemble humorously metamorphosized into a single organism and seamlessly returned as individuals.

The lengthy standing ovation was very well deserved.  So ended another evening with Hubbard Street Dance Chicago to be remembered and savored. With that came the anticipatory longing to see them again … very soon.

Review: Mahaiwe Arts Center, "Parsons Dance"

Mahaiwe Arts Center, Great Barrington, MA

July 18, 2022

by Shera Cohen

A preface to this review is in order. I do not dance; never have. I don't know the dance jargon except what I have heard over the years. Yet, I can see talent, exuberance, and the comradery called for in the ensemble pieces by the Parsons Dancers. Even in the darker pieces, Parsons troupe is, in my opinion, the most accessible modern dance form in this country.

Mahaiwe Performing Arts Center has hosted Parsons for two performances only for several years. They fill the house of this elegant large venue, and the instant standing ovations received are never obligatory. 

Artistic Director/Choreographer David Parsons founded the group of contemporary dancers in 1985. In the past 30+ years, Parsons, et al have performed throughout the world, winning just about every dance award given. Coupled with the skills of the dancers, one can't help separating the movement onstage with the exquisitely timed lighting. The program book states that Tony Award-winning lighting designer Howell Brinkley co-founded Parsons. Often an ancillary phrase or line about the mechanics of performances are included in our In the Spotlight reviews. However, I have to single out the extraordinary work of Brinkley's lighting. 

While some of the dance sections were from Parsons' older repertoire, two were recently choreographed. Act I included "Kind of Blue," a jazzy salute to Miles Davis; and "Nascimento" which delighted me and everyone else. Between these full cast pieces was "Balance of Power," an eery solo work danced by one man whose body rippled in robot-like positions, enough to say to oneself, "How did he do that?"

Act II presented the humorous "The Envelope" which was handed by one dancer to another, yet never touching the ground. The choreography was impeccably precise. "The Road" with music by Cat Stevens, was light with country-western steps and kicks. Again, as in Act I, the middle performance, "Caught," showed the hand-in-hand balance of a single female dancer's talent with that of the lighting designer. 

I would have suggested a program note warning about strobe lighting, as lengthy parts were created by stacatto-like images, so much so that I closed my eyes through the entire segments. However, my companion told me that when dance met lights, the movement seemed to life the dancer off and onto the stage in mid-air.

REVIEW: Jacob’s Pillow, “Music From The Sole”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 24, 2022

by Josephine Sarnelli

It seems appropriate for “Music From The Sole” to start their performance with a procession of the musicians and dancers through the audience, reminiscent of Brazilian Carnival.  The entire program was an unusual fusion of American tap dance with Latin music that somehow seemed totally natural.

Leonardo Sandoval, co-founder of the ensemble with Gregory Richardson, hails from Brazil as a tap dancer and choreographer. Richardson, sharing Sandoval’s passion for Brazilian music composed the music entitled “I Didn’t Come to Stay” for the hour-long performance. They capitalized on the fact that tap is both dance and music and, therefore, incorporated it as an integral part of the percussive section of this composition.

Photo by Jamie Kraus

Traditional tap dance aficionados were not disappointed by the outstanding performance by the eight dancers.  The high energy, rapid tap rhythms included flawlessly performed over-the-top jumps and single-foot wings. Likewise, ballroom dancers could recognize samba steps, such as the volta, interspersed with shuffles and flaps. Of particular interest was the use of very nontraditional arm motions that drew upon the Latin and Afro-Cuban influences, along with jazz, tap and balletic movements.

The five musicians were all talented in their own right.  In particular, flutist Magela Herrera and cellist/bassist Jennifer Vincent added a haunting quality to the music. The musicians also participated in the vocal portions of the composition.

No evening of tap would be complete without a “dueling” between dancers.  Gerson Lanza and Ana Tomioshi each gave excellent solo performances before entering into a tête-à-tête. But in keeping with the tone of collaboration, it sounded much more like an expressive conversation between the two dancers than a competition.

One sequence drew from the Juba style of African-American dance in which dancers performed barefoot and relied on stomping and slapping their feet on the floor.  Through hambone motions of patting parts of their body, they created the illusion of instrumentation for the audience.

Leonardo Sandoval’s magnificent solo offered “scraping” sounds not often heard in contemporary tap performances.  He utilized these for the group choreography also and it was a refreshing look back to an earlier time in tap dancing.

Richardson and Sandoval creative endeavor grew out of playing music and dancing together for donations (known as “busking”) on the streets of New York.  In addition to practicing their artistic skills, it must have also developed their talents for holding a crowd.  As the audience gave the performers a standing ovation, the ensemble exited the same way that they had entered, releasing colorful streamers over the audience.  The evening was truly a celebration of the ongoing evolution of tap dance!