NAPLES, FLORIDA — So many snowbirds, young and old alike, head for the southern borders of the United States during the winter to grab some vitamin D. I recently headed to Naples, Florida, just above the Everglades on the Gulf Coast, primarily to visit friends Bonnie and Steve Crosby.
I had not been there since 2006, when I wrote a Pittsburgh Post-Gazette article about the impressive growth of the arts scene under Myra Janco Daniels in only 25 years and the large Pittsburgh community that had collected there, including the still-active Pittsburgh Symphony Orchestra tympanist and now composer/lecturer Stanley Leonard.
While it was relaxing to take a boat ride around the harbor and learn that the largest property belonged to Federated CEO J. Christopher Donahue of Pittsburgh or to saunter atop a camel and feed a giraffe at the tropical zoo, my friends also took me for an update at the Naples Museum of Art, attached at the hip to the all-inclusive Philharmonic Center for the Arts and primarily known for its glass collection by Dale Chihuly (some us may still remember the fascinating Phipps Conservatory exhibit in 2007). It offered the meaningful Painting Women, a scintillating wordplay on an exhibit by and about women, including Mary Cassatt, Georgia O’Keefe and balletic art master Edward Degas.
I also was surprised to find Visual Connection: Painting, Sculpture & Photography Inspired by Dance. Artists included Rose Eichenbaum, photojournalist and contributor to Dance Magazine, Mark Haegman, photographer of the Bolshoi Ballet and sculptor Richard MacDonald, best known for his neo-realism, which captures perfect lines and proportions (down to prominent veins and muscular tissue), movements that are unattainable for most dancers and even the flow of a chiffon skirt. His subjects featured Rudolph Nureyev, artists from London’s Royal Ballet (including current star Sergei Polunin) and a new series on Cirque du Soleil. Perhaps inspired by that, his most recent sculptures capture amazing feats of balance. Click on his website for photos.
At The Phil I was able to attend a performance by Alvin Ailey American Dance Theater, but more on that in another post.
Steve has also become quite the connoisseur of dance, a direct result of Bonnie’s career and continuing passion. He brings something else to his talks, though, through his Julliard music training and understanding and is able to formulate a wonderful connection that you can rarely find — seeing the dance through music.
The first talk took place at Naples United Church of Christ and was part of a six-week video lecture series. He had already touched on such delectable pairings as Bach/Neumeier and Stravinsky/Kylian.
I attended a session on contemporary Christian songs, interpreted through Mississippi’s Ballet Magnificat, subject of an extensive article by the Washington Post’s Sarah Kaufman. We all know how dance can inspire and uplift, but this focused on it in a whole new way.
The next day Steve moved to The Phil for the first of a two-session talk on “choreographers that have a keen sense of the music,” which, he admitted, meant “no Merce Cunningham” in this instance. (By the way, he is in good company — The Phil’s Life Long Learning program also includes talks by Merrill Ashley, former principal with the New York City Ballet, and Peggy Lyman Hayes, former principal with Martha Graham.)
Steve covered his own personal choices (and astute they were) — ranging from Tchaikovsky/Petipa’s The Sleeping Beauty (with a particularly eloquent Viviana Durante of the Royal Ballet, who got the loudest round of applause) to Alvin Ailey’s Sinner Man (from Revelations), Brazil’s sleek Grupo Corpo and a tasty Balanchine tidbit, of course (a poignant Mikhail Baryshnikov and Patricia McBride in The Steadfast Tin Soldier). Ah, Mr. b. lived and breathed music, but with his own artistic signature.
Finally we got to lick our lips over a Chaplinesque “food fight” from Jiri Kylian and his wife, Sabine Kupferberg, which has a presence on YouTube. Enjoy…