Dance Beat: PBT, CLO Dance Seasons Plus, Jacob’s Pillow

March 30, 2015

PBT WESTERN SYMPHONY

PBT. As it nears the finish of its 45th season, Pittsburgh Ballet Theatre seems to be casting its sights on the 50th. For the first time in recent memory it is presenting two mixed repertory nights. The first, with George Balanchine’s Western Symphony, William Forsythe’s in the middle somewhat elevated and Jiri Kylian’s Sinfonietta, opens the season (Benedum Center, Oct. 23-25) and has the potential to be the company’s best program…ever. There is no doubt that this is a great line-up. But more importantly, it has balance, perhaps beginning with the sweeping Sinfonietta, then with the meaty contemporary angles of the Forsythe and finishing with Balanchine’s version of the wild, wild West. The other (Byham Theater, Mar. 10-13) features what appears to be a popular and fairly recent (BalletMet premiere 2010) ballet, noted Canadian choreographer James Kudelka’s Man in Black, inspired by country legend Johnny Cash. It will be accompanied by another local premiere, Michael Smuin’s 1969 pas de deux, The Eternal Idol, and a return of the iconic Jardin aux Lilas (Lilac Garden) by Antony Tudor. The company will bring back Jorden Morris’ version of Peter Pan (Benedum, Feb. 12-14) and, of course, the annual Nutcracker (Benedum, Dec. 4-27). The season will then conclude with the company premiere of Le Corsaire (Benedum, Apr. 15-17), one of those epic ballet warhorses about a pirate who seeks to liberate the woman he loves from kidnappers. The orchestra will accompany the opening program and Le Corsaire. For more information, click on PBT.

CLO. Not falling into the season category (but it will in the future) is the exciting news about the new production of An American in Paris, choreographed by balletic superstar choreographer Christopher Wheeldon, who is also making his directorial debut. It got rave reviews in Paris for this reimagining of the classic Gene Kelly film and set to open on Broadway . The cast is to-die-for, led by New York City Ballet principal dancer Robert Fairchilds  and The Royal Ballet’s Leanne Cope, certain to be a dead ringer for Leslie Caron onstage. Check it out at American.

PITTSBURGH ON BROADWAY. Dance aficionados will want to catch Mathilda the Musical, with choreography and movement by Peter Darling, whose other credits include Billie Elliot: The Musical. The Sam Mende/Rob Marshall version of Cabaret returns to Pittsburgh via the 2015-16 Broadway across America season direct from Broadway and The Wizard of Oz gets a bit of a facelift from Tim Rice and Andrew Lloyd Webber with some new songs (choreographer is Brit Arlene Phillips). For those who are musical-ly driven, Beautiful — The Carole King Musical will be of interest plus some familiar favorites like Jersey Boys, The Sound of Music and Blue Man Group. For more information, click on Broadway.

JACOB’S PILLOW. Well, well, well. Pittsburgh beat the Pillow to the punch on a couple of appearances taking place on its 2015 season, including Three Acts, Two Dancers, One Radio Host  (the Ira Glass/Monica Bill Barnes collaboration presented by Pittsburgh Dance Council in February), Daniel Ulbricht & Stars of American Ballet (independently presented at the Byham Theater and Cuba’s Malpaso (presented by Kelly Strayhorn Theater with two North American premieres). Of course, Alonzo King LINES Company and Martha Graham Dance Company have touched base here along the way as well. (In a real departure, there will be only one Graham work on the program and a premiere by Mats Ek to celebrate the group’s 90th anniversary.) Keigwin + Company open the season and will include tap sensation Michelle Dorrance and L.A. Project, founded by Benjamin Millepied. Click on Pillow.

 

 


Dance Beat: YAGF, Chloe

March 28, 2015
Tommie Kesten with Damien Martinez in Ballet Academy of Pittsburgh's "Nutcracker. Photo: Katie Ging.

Tommie Kesten with Damien Martinez in Ballet Academy of Pittsburgh’s “Nutcracker. Photo: Katie Ging.

YAGF. Youth America Grand Prix, the world’s largest international student dance competition, has expanded its network of competitions to Pittsburgh for a second year of semifinals (and moved to the larger Byham Theater), which says a great deal about Pittsburgh’s emerging dance footprint. Ballet Academy of Pittsburgh’s Tommie Kesten, 14, bourreed away with the Youth Grand Prix, the top award in the Junior Age Division. Verily Treu, 13, of Pittsburgh Ballet House, landed in third place and captured first place in the Contemporary Dance Category. In the Pre-competitive Age Division, Victoria Pete, 10, of Pittsburgh Youth Ballet and Sofia Williams, 11, of Ballet Academy of Pittsburgh, placed in the Top 12. Point Park University took third place in Ensembles for Idiosyncratic Rising. Ballet Academy of Pittsburgh and Pittsburgh Youth Ballet were in the Top 12 for IV and Til the End. To top it all off, Point Park University staff member Kiesha Lalama received the Outstanding Choreographer Award.

CHLOE. Former Dance Moms teenager Chloe Lukasiak has partnered with Chicago singer-songwriter Jess Godwin in the music video, Fool Me Once.

 


On Stage: Beth’s Families

March 27, 2015
Beth Corning and John Gresh. Photo: Frank Walsh.

Beth Corning and John Gresh. Photo: Frank Walsh.

We have been watching Beth Corning slowly reveal her own family history during her years in Pittsburgh, show by show, step by step. But she has constructed a special dance family around her personal family via the Glue Factory Project, designed specifically for dancers over 40.

In celebration of Glue’s fifth anniversary, she is putting five performers, all with a local/regional connection, inside at ONCE there was a HOUSE, her fourth iteration of the piece. This time Corning rebuilt the work with Attack Theatre’s Michele de la Reza, Squonk Opera’s Jackie Dempsey, veteran Pittsburgh actor John Gresh, former Pittsburgh Ballet Theatre principal Tamar Rachelle Tolentino and Yoav Kaddar, head of West Virginia University’s dance department and former dancer with Paul Taylor, Jose Limon and Pilobolus.

It’s also the perfect way to celebrate five years in a “huge economic crunch.” Corning will embrace a long stint in Sweden, “that really created my artistic voice and my aesthetics and made them concrete,” by bringing in two Swedish artists later this year.

Re-entering her House along with “grownups who actually knew Dick and Jane,” the educational reading series used from 1930 to 1970 in many schools, was inspired by Pittsburgh.

But this House, which will double its length to an hour, “has changed a lot and the characters are completely different,” she promises. And with multidisciplinary artists around her, “it’s been pretty grand.”

“We acknowledge we’re all pushing our limits on this one — we’re all out of our comfort zone,” Corning says. ” It’s an incredibly vulnerable show; it’s incredibly vulnerable when you really know what you’re dancing about.”

The work she does is deeply personal, deeply engrained in the body and soul. For example, she would “sit and talk and analyze this thing” with Gresh “and find ways into it — it’s so much fun! These are people who are smart, who are there, who are present beyond present.”

So de la Reza might turn into a rehearsal director, helping some of the others. And Dempsey, an accordionist in her professional life, “picks up dance movement faster than most dancers.” Gresh keeps laughing — “he calls himself a baby rhino in a bunch of gazelles.”

They’ve all had to adjust, though. The movement might have to switch legs because of a leg or hip problem because “it’s all part of the Glue Factory.” But according to Corning, there is so much other movement available that the richness of the dance still takes hold.

And that made the process so much more satisfying.

For example, she was enamored with Rachelle Tolentino from her very beginning in Pittsburgh. The ballerina led the company audition for Corning at the Alloy, whereupon she asked her to join the company. “You’re exactly what I’m looking for.” But the knee problem that had curtailed Rachelle Tolentino’s career prevented that.

But a couple of years ago, she coached Corning in her one-woman show, REMAINS. “I had an ‘aha’ moment,” recalls Corning, “as I watched her walk. Seasoned artists can simply walk and say as much as a young dancer does in fifty pirouettes.”

De la Reza hasn’t been coached in 20 years while co-founder of Attack, leading Corning to remark that de la Reza’s experience here is like learning Greek and then immediately performing a theater piece using it.

Corning and Kaddar traded rehearsal time between Morgantown and Pittsburgh, about 90 minutes. She notes, admiringly, that he was “alway on time.” As for Gresh, well, “He’s a honey. That guy’s the real deal — he’s not up there doing lines.”

And Dempsey, an accordionist, she didn’t know that she would “really” be dancing. In fact, she wrote a note to Corning saying, in part, “In two decades of performing, I’ve never been quite so terrified.” But if she “could choose any artist with whom to take this lead, it wold be Beth.”

 

 


Dance Beat: Let’s Hear It For the Girls — Maria, Jasmine, Alexandra

March 23, 2015

MARIA CARUSO SCARF ARABESQUE

MARIA. Maria Caruso closed one door — performing with her company, Bodiography, here in Pittsburgh at the Byham Theater — and opened another, a solo career that will take her far afield. But before we get to that, she choreographed (and will continue in the future) a duet, Light By Love, quite lovely, yet controlled for Misa Pascarella and Dan Savage, with Theo Teris at the piano (a nice touch) and then moving on to Follow the Light, a ballet set to Cold Play, which showed how she has developed her rock roots with a larger sense of phrasing. Her solo, My Journey, relied on her own rock solid performing style. The piece was obviously heartfelt, detailed and much of it quite literal as Maria went through her life, following her own ups and downs through a scrapbook of memories, especially significant for those of us who have been there from the start.

JASMINE FLOWJASMINE. Jasmine Hearn’s inviting face tops an always curious body. But it also harbors a probing intellect that comes up with such intriguing concepts. Her latest at PearlArts Studio was a “response” (her favorite word lately) to the Bill T. Jones/Keith Haring collaboration called Long Distance at New York’s The Kitchen in 1982. There Bill created a dance  using the sound of Keith’s brushstrokes as he painted on the wall behind them. Jasmine paired with Chicago artist Ayanah Moore on this occasion for what they titled FLOW. Judging from a brief clip on YouTube, the women were more connected, both with each other and involving the audience. Ayanah’s large brown paper swatch had microphones attached to the perimeter so that her brushstrokes resonated more fully. Jasmine, in the meantime, worked the room — she has a real sense of personal theater, tempered with a naturalness that is always engaging. Beginning in a kneeling position, her back to most of the audience, she undulated, rising and arching her back to expose her breasts. Her sexuality was a part of it all — covered, uncovered, bared and recovered. But it was only a part of the response, where the movement could curl up and pop open, mingle with the audience around her, engaged in shadowing and playful repartee with Ayanah and jiggle with ecstasy. There were a few snatches of whispered songs, too. Oh, and Ayanah gradually uncovered the message: BOTH WANTING BOTH LOVING, written twice in raw, mirrored images. ALSO: Check out Jasmine’s gritty/elegant stop/start, always fascinating video with Paul at jasmine+Paul, also available for subscription:

https://www.patreon.com/creation?hid=1739587&rf=364407&ty=1

ALEXANDRA. Lastly, Alexandra Bodnarchuk just sent notice that her cross-disciplinary dance project (also with video) has been accepted for the 2015 Dollar Bank Three Rivers Arts Festival. It’s called Dance From the Inside Out, but hey, let Alexandra tell you about it in her message: click on  DFIO.

 

 


On Stage: Premieres!

March 18, 2015
Jerome Robbins' "The Concert." Photos by Rich Sofranko.

Jerome Robbins’ “The Concert.” Photos by Rich Sofranko.

Jiri Kylian's "Petite Mort." Olivia Kelly and Ruslan Mukhambetkaliyev.

Jiri Kylian’s “Petite Mort.” Olivia Kelly and Ruslan Mukhambetkaliyev.

They weren’t world premieres, but this trio of Pittsburgh Ballet Theatre’s local premieres gave the company’s repertory a new heft in this unprecedented program. Kylian. Morris. Robbins. A true ensemble experience for the dancers. Read about it in the Pittsburgh Post-Gazette.

 

 

 

 

 

 

 

Mark Morris' "Sandpaper Ballet."

Mark Morris’ “Sandpaper Ballet.”


On Stage: Unveiling Ballet’s “Beast”

March 7, 2015

 

Nurlan Abougaliev and Amanda Cochrane. Photos: Rich Sofranko.

Nurlan Abougaliev and Amanda Cochrane. Photos: Rich Sofranko.

It’s a never-ending search to satisfy America’s thirst for full-length story ballets. With only a handful of classically-styled productions from which to choose, directors are pressed to satisfy that thirst, despite the fact that these kinds of ballets are almost certain to break the budget.

Pittsburgh Ballet Theatre’s Terrence Orr recently reached into his own past to resurrect Lew Christensen’s Beauty and the Beast, which Christensen created for the San Francisco Ballet in 1958 and restaged in 1982. It most likely was the first full-length contemporary ballet to be presented in America and, as such, deserves an acknowledgment.

This is a ballet that has certain positive attributes — it’s a family-oriented production that, given its series of scenic  drops, will most certainly tour well (perhaps without the stairs in front of the castle). As such, it can be a good entry-level ballet to attract new audiences. Its strongest assets, however, are the costumes, which were lovingly refurbished by costumier Janet Groom and her staff. And certainly the rebuilt masks, and especially the new Beast, all by Svi Roussanoff, were a standout.

The score, channeled from lesser-known Tchaikovsky music, worked fit beautifully for the most part, although it would have been enhanced by a live orchestra. The core of the score came from the final movement of Tchaikovsky’s third suite, which George Balanchine put to much better use in his Theme and Variations. (On an odd note, Balanchine’s work premiered in 1947, when Christensen was still associated with the New York City Ballet.)

PBT Beauty Amanda and Nurlan

Christensen chose to adapt Madame LePrince de Beaumont’s original 18th century tale of a young girl who, along with her father, gets lost in the woods, teeming with leaping nymphs and stags, and arrives at the Beast’s castle. When Beauty asks her father to pick a rose, the Beast catches them and dismisses the father, but keeps his Beauty.

The ballet turned out to be composed of the usual storybook bits and pieces, like the character-driven second scene with Beauty’s family, including a pair of wicked stepsisters ala Cinderella. There were five Bluebirds (vivaciously led by Amanda Cochrane), the fluttering arms and beats obviously inspired by the Bluebird pas de deux in The Sleeping Beauty.

Like The Nutcracker, there were flowers, Magic Flowers here. But the choreography lacked flow, coming to a halt to form stiff, angular poses. And when the Courtiers and Roses assembled for the celebratory finale in the transformed prince’s palace, a repetitive series of promenades and runs in linear patterns did not achieve the splendid effect found in Balanchine’s version.

The PBT dancers, however, were confident in their roles, surprisingly spread over five casts. While there was a rather nice duet in the first act where the Beast tries to confess his love for Beauty, the true test for the leading roles came with a more traditional pas de deux at the end.

PBT Beauty finale

So here’s the list: Alexandra Kochis and Alejandro Diaz made a handsome opening night couple, while Julia Erickson and Alexandre Silva used their charismatic authority to great effect. It was good to see Amanda Cochrane paired with the elegant veteran Nurlan Abougaliev. With an attentive and knowledgable partner like that, Cochrane enjoyed a new softness and freedom in her dance. Gabrielle Thurlow brought her innate naturalness to Beauty, while Luca Sbrizzi, always so princely, was technically commanding in the pas de deux. Although I only saw the first act with Hannah Carter and William Moore, there is an aristocratic ease to their balletic style, honed at Britain’s Royal Ballet, that will set them apart in the future.

No doubt Beauty and the Beast, with its inspirational message that true beauty lies within, has struck a chord with audiences over the years. It remains to be seen if this balletic version will find its own admirers.

 

 

 


On Stage: Jil and Ben and Friends

March 3, 2015

JIL STIFEL WAYWARDLAND

You have to love the principle behind New Hazlett Theater’s Community Supported Art (CSA) series: to provide financial and artistic support to Pittsburgh’s emerging artists. That gives them time to more fully develop their ideas and move on to the next level.

However, it didn’t seem like Jil Stifel, an independent dancer and choreographer, and Benjamin Sota, founding director of Zany Umbrella Circus, would fall into that category.

But Jil does mostly solo work and it’s been a long time since Benjamin has inserted his toe (and circus apparatus) into the whirlpool of Pittsburgh dance. This was an opportunity to expand their artistic vision — for Jil, eight artists to coordinate and for Ben, sharing in that and folding his unique talents into a choreographed endeavor.

The result was WaywardLand, a fresh performance piece with four dancers (Jil, Ben, the shimmering Anna Thompson and masterful Taylor Knight, sets and masks by Blaine Siegel, lighting design by Scott Nelson, costume design by Casey Droege and composition and sound design by David Bernabo.

I still remember Jil’s early work (a bathtub piece) and was always impressed with her startling imagination, so different, yet so much her own. And you can’t get much different than the Zany Umbrella Circus, which always brings its own pizazz with it.

The two have known each other since high school and maybe that made it easy to be themselves, yet integrate modern dance and circus arts. That they did surprisingly well.

There were assorted offbeat choreographic vignettes, like a playfulness with “wayward,” pointing quizzically in various directions. There was a jiggly jog, hands atop the head, slipping into flipper hands, as if “What’s up?”

But most movement and timing was determined by the props. That could make things purposeful, as when manipulating a long, twisted fabric rope, or meandering about with large papier mâché minotaur heads or peering from behind notched geometric forms.

The duo created triangles in the movement, perhaps inspired by a large hanger where Ben was slowly lifted in the sky. Maybe a little too slowly, stopping the action. My favorite was the German wheel, actually a double wheel, that became a corral and a circular balancing act for Jil and Ben.

But undoubtedly WaywardLand was a Seussian meeting of some of Pittsburgh’s most inventive, but decidedly adult artists, pointing, just like this piece, in all directions and wondrous for their unconventionality.


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