On Stage: Musing on the Dance Council’s Dance Muses

May 22, 2012

Photo: Tom Caravaglia

When I first received the Pittsburgh Dance Council’s latest season announcement, my first reaction responded to the personality-plus to be seen on the roster. After all, we were getting companies from British Bangladesh and New Zealand, the mosh pit known as Elizabeth Streb, street dance, men in tights and the indescribable Mark Morris, who is simply his own man.

You can’t get much more different than that.

Photo: Laurent Zieglert

Yet executive director Paul Organisak saw nothing but connections. “These are artists who use real fundamentals of different dance forms in their work,” he said. And with that he proceeded to tick off the reasons why:

Elizabeth Streb (Sept. 28-29): “She strips down dance to energy movement through time and space.”

Akram Khan Company (Oct. 20): “His foundation is traditional ethnic dance.”

Kyle Abraham/Abraham.In.Motion (Feb. 16): “Kyle is informed by club dance/street dance. He takes that as motivation and superimposes contemporary choreography.”

Black Grace (Mar. 2): “They show traditional Maori [a native New Zealand culture], then add contemporary dance.”

Les Ballets Trockadero de Monte Carlo (Apr. 5): “Classical ballet!”

Mark Morris Dance Group (May 4): “He takes musicality to new levels.”

(All performances at the Byham Theater.)

Photo: Ian Douglas

But I see a season that will continue the adventurous path that PDC returned to this past season. And for the very reasons they are connected, these companies will still demonstrate the enormous diversity of dance.

I suppose that I am most excited by Akram Khan, a British-born Bangladeshi choreographer, not only because his name is currently on everyone’s lips, but because the brief clip I saw during the PDC announcement was an ever-changing cloud of dance. Pittsburgh will be able to see what all the talk is about.

Phoro: Duncan Cole

But then, the remarkable individuality of the rest of the season will come into heavy play. Kyle Abraham is a darling of the New York City dance scene.. He heads for the American Dance Festival this year, but still maintains his Pittsburgh roots and was just in town for the Kelly-Strayhorn’s newMoves Festival. Paul will bring in a new work sight-unseen, “Boyz n the Hood: Pavement,” that won’t have its premiere until just before the Pittsburgh appearance. That’s trust.

Mark Morris hasn’t been seen here in over a decade. One of the world’s most prominent choreographers, that is far too long. Although he once was called “the bad boy of modern dance,” he was always an artist who had principles. This performance will have live(!) music, always a great support system for his singularly musical approach.

Photo: Sascha Vaughn

Streb will bring another brand of excitement as her dancer/gymnasts/athletes flaunt their control in seemingly dangerous situations. Although they have thrown themselves against walls and taken large leaps of faith here in the past (1994-95 and 2003), Forces will present a new environment on steroids. But Elizabeth, who won the MacArthur “Genius” Award would explain it all in quantum mechanics terminology. You’ll have to see for yourself.

Lastly we’ll get two all-male, decidedly different groups — a rare treat. Black Grace brings the Maori culture of New Zealand and has inspired enthusiastic notices around the world for its unique blend of masculinity and spirituality.

And the Trocks? Evidently they have stepped up their game since their last visit to Pittsburgh, with upgraded technique and artistry that lends more comic nuance to the balletic repertoire. Bring on your Dying Swan, Larissa Dumbchenko!

Photo: Brian Snyder

 

 

 

 

 


On Stage: Attack, PBT, Pillow, Dancing Classrooms

May 11, 2012

Photo: ©Martha Rial

FOR ARTS’ SAKE. At last Attack Theatre was acknowledged by the National Endowment for the Arts with a $15,000 Art Works grant, a result of some heavy-duty planning by the small dance company. Inspired by Some Assembly Required, the company will transfer its popular museum/art gallery interactive program outdoors. Working with the Pittsburgh Office of Public Art, the Attackers will identify five works of public art in various Pittsburgh neighborhoods and perform SAR:Public over a month-long period, engaging “community members in a creative response to public works of art and transform that response into a public performance.”

Photo: Rich Sofranko

PBT PROMOTIONS AND ACQUISITIONS. Yes, Pittsburgh Ballet Theatre has announced promotions for the 2012-2013 season. Coming on the heels of Erin Halloran’s retirement,  soloist Christine Schwaner, known for her sweet technique in classical works, will become a principal dancer and Amanda Cochrane, who made her mark as Tinker Bell in Peter Pan, will move up to soloist. Aygul Abougalieva , Ashley Wegman and Ted Henderson will be leaving the company. They will be replaced by Casey Taylor (who actually filled in during the second part of the past season and performed in Streetcar Named Desire) and Joanna Schmidt and Corey Bourbonniere from the PBT grad school. We’ll hear more from them later in the summer.

JAZZING IT UP. The Pillow Project is planning some more spontaneity in Europe this summer, following in their successful footsteps last year. Renowned poet and East Liberty native Moe Seager invited them back to his old haunting grounds in Paris. They will move on to London, Brighton, Dublin and Amsterdam, where they hope to connect with master improvisor Michael Schumacher, recently seen in Last Touch First here. Pittsburghers can see the fruits of their labors when Moe returns to Pittsburgh June 8 at The Space Upstairs. The next night, June 9 or SECOND SATURDAY,  will feature several short films and photography studies created during that tour.

Photo: Archie Carpenter

OUI, OUI PIERRE. Experience the dazzling French charm of Pierre Dulaine once more at Mad Hot Ballroom on Sunday, June 10 from 5 to 9 p.m. at The Westin Convention Center Downtown. Enjoy a buffet dinner, cocktails, a ballroom competition, dancing, a silent auction and an informal group dance lesson with Pierre, master of ceremonies and guest emcee. For more information visit Pittsburgh Mercy Health System.


On Stage: Lar — A Dance Classic

April 30, 2012

Photo: Todd Rosenberg

It is hard to believe that Lar Lubovitch is 70 years old and that he’s been making dances for over 40 of those years as I watched his company at the Byham Theater, which you can read in the Pittsburgh Post-Gazette. He joined the company in Pittsburgh and it was great to see him and former Pittsburgh Ballet Theatre artistic director Patricia Wilde in an animated chat during intermission. A number of other local dance luminaries turned out for Lar, including Pittsburgh Ballet Theatre ballet master Steven Annegarn, Dance Alloy founder Elsa Limbach, Dance Alloy icon and University of Pittsburgh’s Susan Gillis and former Alloy member Patty McKeown. But perhaps the most exciting thing, at least for the large contingent of enthusiastic Point Park University dance students, was the ravishing performance of Jason McDole, Aliquippa native and former Point Park University staff member. So engrossed in the music and the choreography that he bordered on ecstatic, Jason, at one point, threw himself splayed into the air several feet above the ground and landed like a pillow flat on the floor. Great stuff!

Photo: Todd Rosenberg

 


On Stage: Back to Back

April 27, 2012

They say you can’t go back, although dancers easily do that in both class and choreography. But Jason McDole also maintains a number of umbilical cords in his life. He may appear to go back, but actually he is moving forward.

We met a few years ago when the Aliquippa native and Pittsburgh-trained dancer returned to the area to teach at Point Park University. We talked about a lot of things for the Pittsburgh Post-Gazette — his early hearing loss, his dance growth here, the matriculation to Juilliard where he met life-long friend Robert Battle, his remarkable career with major companies under choreographers like Twyla Tharp, David Parsons and most recently, Lar Lubovitch.

Dance subsequently called him back to a spot in the seamless symphony of movement as that same group, the Lar Lubovitch Dance Company, is finally getting an encore performance with the Pittsburgh Dance Council at the Byham Theater this weekend.

A couple of years ago, Jason took some time off to nurse his ailing dog, Colby, when Lar called. He said there was a position open in the company, that he wanted “someone who knows my work and I know you would be such a good fit.”

Jason recognized it as “a unique opportunity, very flattering.” With support from family and friends, he left Aliquippa, where he was staying with his uncle, to meet the company in Chicago. (Colby soon passed away.)

It was a good fit. Jason had friends with the company and would be working with Lar, “who I adore. I respect him as a choreographer; I respect him as a person. He’s such a gentleman and very focused and dedicated to his work and his craft and his dancers — just the utmost quality, always time for details. Everything’s pristine and really clean and clear.”

But the best thing about this current dance career extension is that it’s just “more fun. From here on out, everything is cake and ice cream.” Jason also relishes the challenges, both physically and creatively, of tapping some of Lar’s past works and watching Lar create new work on him.

So this time around Jason is taking time, simply to enjoy. He has an apartment in Spanish Harlem, which he shares with Josie, a Hungarian Viszla or pointer dog. (“One day I’ll have many Viszlas around me.”) Before he didn’t have the time to make a home — it was just a place to sleep. Now he puts “Jason” touches on the apartment.

He also keeps in touch with Robert Battle, who went on to take over the Alvin Ailey American Dance Theater. “I knew him before he was making dances,” says Jason. “Of course, he’s much busier now. He’s doing well. He’s very challenged, right where he should be.”

And Jason seems to swim in Lar’s vision, beginning with the blend of the program itself.

“You feel it as a performer — it’s really nice to dance a program where you can cohesively move from work to work in an evening,” Jason explains. “He also thinks about the audience and musicality and the pacing, but certainly he’s thinking about his dancers. So I appreciate that.”

The Pittsburgh program will begin with North Star, one of Jason’s favorites and an early Lubovitch piece (1978) that separated the choreographer from the rest because he was first to use minimalist music. Jason admits that “I’m driven by it.”

Photo: Todd Rosenberg

But the rest of program will feature three more recent works as Lar continues to maintain his artistic edge, including Little Rhapsodies, a trio set to Schumann, and Crisis Variations, a quintet set to a score inspired by Liszt. Jason remarks that Crisis is a “wonderful departure. He really took a risk…challenged himself to step outside of his own box.”

The evening will conclude with Legend of Ten, a “beautiful, very layered, highly textured” work set to a Brahms quintet. Oddly enough, Lar created it with the idea of a geographical map and its legends. As it turned out, about half of the piece was created on the road, creating its own geographical outline in many cities while the company was on tour.

And as for Lar’s movement itself, it’s “so organic — I know it’s a cliched word — in a sense that the weight shift from one foot to the other is like butter. So you really are in constant balance. But you’re still able to spiral and twist and leap and create multi-dimensional, circle-like motion. That’s what makes his movement so beautiful in terms of movement flow.”

It has been a prolific time for the 70-year old choreographer, who keeps doing it “because he wants to and he chooses to and he needs to.” And Jason? The story is much the same. “I think I’ll always be a dancer, no matter what,” he says. “I’ll always have dance somewhere in my life. While I’m dancing, I’m eating it up.”

Yeah, we all like cake and ice cream.

For the Byham Theater performance details, see Listings.


On Stage: Dance Bundle — PBT, MAC, CMU

April 24, 2012

ON THE SHADY SIDE OF BALLET. I caught Pittsburgh Ballet Theatre in one of its community performances at Shady Side Academy in Fox Chapel. It had been a couple of years and it was good to see that there was a buzz about the company at the pre-performance reception and a much larger audience than the last time I caught the company here. The repertory program, last seen at Hartwood Acres, was what could be termed accessible, with Derek Deane’s Hungry Heart…we all have one!!, sporting a mini-jukebox that played only Bruce Springsteen songs in a ’50’s setting, and Viktor Plotnikov’s Gershwin-inspired Shall We Dance, which had a better focus in the shortened format (gone were the Penguin players/penguin suits bit, barefoot ballerinas doing the worm and the mobile sofa sequence). With Christopher Budzynski still out due to a sore knee, the men’s roles moved around a bit, so Robert Moore successfully connected with his inner mojo to perform the biker dude in Hungry Heart and Joseph Parr tackled Shall We Dance. Upon viewing that ballet once again, it now seems that Mr. Plotnikov is out to poke fun at the arts, to get rid of the stuffiness. The problem still remains with his overly-active proliferation of ideas, which can turn things into a circus — just using a few threads will tie it all together and probably be funnier. Julia Erickson and Alexandre Silva were smoothly in control in George Balanchine’s Sylvia Pas de Deux, though, the gem of the evening. And there was a welcome bonus. When can you talk to someone like Richard Rauh, who commissioned Shall We Dance, while in the Richard Rauh Theater?  It was almost surreal.

NEW PARTNERS.  The always amicable Gerard Holt found some new friends in Anime’ BOP! and it may be a good partnership to pursue. Their program at the Father Ryan Arts Center in McKees Rocks was called Now See Hear: A Collaboration of Sight and Sound and served as a casual introduction to the arts, using often humorous quotes about music and dance that were projected on a screen and a full-fledged Wile E. Coyote/The Road Runner cartoon for a hilarious ending.  But that didn’t mean there wasn’t an air of sophistication. Made up of musicians from Pittsburgh’s fine professional pool (bassoonist Linda Morton Fisher, oboist Robin Driscoll and pianist Robert Frankenberry), Anime’ BOP! accompanied the cartoon characters’ antics with a Jean Francaix trio, but also delved into some fresh pieces by Andre Previn and Francis Poulenc. Usually historically-minded, Gerard provided Last of the Trojan Women, which had a lovely flow, and his co-founder Miriam Scigliano created a skillful premiere, Tryst. While the dancers, all of who studied at La Roche College under the two directors had less stage space with the trio visibly tucked into a corner, the choreographers made good use of what they had. And the dancers themselves showed a burgeoning emotional maturity as they moved.

ULTRA NEW PARTNERS. With my interest fully piqued, I headed to Carnegie Mellon University to view choreography by a science graduate in collaboration with a student composer called Darkness and Light. Physicist Dara Krute unveiled her first choreographic quintet at the Kresge Theater with original music by Adam Field. Adam showed some intriguing concepts (an out-of-tune guitar and a 60-second long duo for piano and live electronics) and a real talent for string quartets. Dara had an array of inspirations — existentialism, the emotions, abstract musicality and a fistful of dance influences — but should trim back a bit to sharpen the focus. She was at her best with a solo for Iona Newell, formerly of Louisville Ballet and Ballet Quad Cities (some might remember her Swan Queen at Pittsburgh Youth Ballet), although the ending faded. Hopefully this will set the stage, though, for more dance at CMU.


Dance Beat: Erin, Attack,

April 22, 2012

The Dinner Dance. Pittsburgh Ballet Theatre gave a farewell dinner at the Fairmont Hotel, one worthy of retiring principal dancer Erin Halloran’s personal and artistic elegance. In response to her popularity, a healthy crowd turned out for one last very graceful bow. Former PBT artistic director Patricia Wilde said that Erin and husband Steven Annegarn would make terrific artistic directors — a hint for the future? And current artistic director Terrence Orr shed a few tears. As for Erin herself, she handled her speech with her usual aplomb, the result of being always so beautifully prepared. Because she was “a little bit overwhelmed and amazed that all of you are here tonight,” Erin began modestly, saying that her initial hiring by Patricia was “a dream come true.” She then “watched and tried to learn” from ballerinas Laura Desiree, Janet Popeleski and Tamar Rachelle.  FYI: Her first production was to dance in the third act of Swan Lake, where, coincidentally, the Prince was her eventual husband, Steven Annegarn, who also would become her “coach, supporter and sometimes toughest critic.” Somehow she “survived” a student matinee of the Nutcracker, where she was the Sugarplum Fairy, further admitting that “I knew I wanted to do more.” It turned into PBT’s longest career move, over 20 years, so Erin had quite a lengthy thank-you list, neatly covering her large family, both personal and professional, who made up a large group who “believed in me when I did not believe in myself.” Her gifts included a PBT scholarship established in her name and a terrific quilt, made of costume scraps from all her major roles and lovingly stitched by PBT costumiere Janet Groom and her staff. In the end, though, they didn’t compare to the riches that Erin bestowed on her audiences over the years, something she will continue in the classroom and with her two sons, Aiden and Leo, and the soon-to-be ???. Yes, Erin is expecting her third.

Photo by Rich Sofranko

Happy Hour. It was a euphoric gathering at Elements for Attack Theatre members and their fans. A good time was had by all at this Happy Hour, the latest in a successful series by the good-time troupe, and featuring scrumptious hors d’oeuvres with drink specials. The bonus was the Big Reveal of the Dirty Ball location — May 19 at 2401 Penn Avenue in the Strip District and virtually next door to Attack’s headquarters. See you there!

Working to Play. The Pittsburgh Dance Council sponsored a workshop by master improviser Michael Schumacher, who was performing in Last Touch First as part of the Dance Council series. Over a dozen local professionals showed up to explore the Benedum Center’s fourth floor studio — the curtains, piano and a number of chairs. Michael called it “playing,” but the atmosphere was nonetheless intense for three hours. He talked about senses — the shifting focus of the eyes (“let the movement come to you”), the ears that “allow us to travel through solid matter,” a sense of smell that “allows us to travel through time,” the skin outside and inside the dancers (touch) and taste, which is the “best, because the mouth involves everything.” It was not dance, not movement, but sensory perception. As the dancers searched the room without music, it took on shades of composer John Cage, the element of chance heightened. It was fascinating to watch as the artists traced the experiential side, the analytical side, repetition, but could not copy. The group included Attack Theatre’s Ashley Williams,The Pillow Project’s Pearlann Porter, Jasmine Hearn, Kaylin Horgan, choreographer and Pittsburgh ex-pat Kris Storey of Germany, Point Park University’s Doug Bentz and Pittsburgh Dance Council’s Randall Miller.

A New Arena. I inadvertently omitted Arena’s Performing Arts Centre from the Post-Gazette’s Dance Recital List for 2012. Join them as they go Around the World June 9-10 at Ambridge Area High School. 412-264-9925 or www.arenaspac.com.


On Stage: Dance Moms and their Students Aplenty

April 18, 2012

Yes, the annual season is here and nearly 40 local schools sent in their information for the Dance Recital Listings that I assembled for the Pittsburgh Post-Gazette. While Abby Lee Dance Company may be the most recognizable face on the Pittsburgh scene via Lifetime’s Dance Moms (and, yes, there will be a regular recital), many hard-working Owners and Instructors (and their own Dance Moms) have  contributed to these hidden Pittsburgh dance treasures that produce both quality dance professionals and loyal dance audiences. And for the record, each studio has its own personality. Read how the studios are once again stepping up their game by clicking on Pittsburgh Post-Gazette for more information.

Just a sampling:

Photo: Katie Ging

Photo: Katie Ging

Ballet Academy of Pittsburgh will have two Black Swans when it presents segments from the third act of Swan Lake:

But there’s more — Pittsburgh Youth Ballet will have a White Swan and some fine feathered friends in Peter and the Wolf:

And Wexford Dance Academy will be simply jumping for joy:


On Stage: A Doll of a Ballet

April 16, 2012

Photo: Rich Sofranko

After stretching its artistic haunches with forays into European dance theater (John Neumeier’s Streetcar Named Desire) and a strong mixed rep program of Brahms, Beethoven, Bach and Brahams (Mark Morris’ Maelstrom, Dwight Rhoden’s Chromatic and Dennis Nahat’s Brahms Quintet), Pittsburgh Ballet Theatre seemingly reigned in its sense of adventure with Coppelia, a balletic comedy in the traditional sense. But artistic director Terrence Orr decided to flex his muscles and shook up the production with a fresh approach and the company responded. Click on Pittsburgh Ballet Theatre for the full article. It would be great if PBT were to continue in that vein next season.

Photo: Rich Sofranko

Afterward everyone celebrated with an official season-ending cast party, En Pointe, at the Trust Arts Education Center’s Peirce Studio around the corner from the Benedum Center on Liberty Ave. Downstairs the performing space, a versatile black box, is always cool, enhanced by the building’s original stone foundation and exposed brick, even on hot summer days. Bordered by black velvet curtains with strings of white globes overhead, dancers and guests gathered for one last event on a season well spent. Tapas, Belgian waffles, cupcakes and mixed vodka drinks added to the the social atmosphere, charged with anticipation for the next season.

Principal dancer Christopher Budzynski (Franz) was with wife and lovely Swanhilda, Alexandra Kochis, and the amiable Stephen Hadala, his onstage nemesis as Dr. Coppelius. As it turned out Chris danced with a sore knee on both Friday and Sunday, helped by plenty of Ibuprophin, a bandage and the adrenalin that comes with the excitement of the performance. He still pulled off soaring double cabrioles and whipping turns without a hint of any problem.


On Stage: Chekhov the Dance

April 9, 2012

It’s not often that we see so many aspects of dance performed with such insight — the emotional, the intellectual and yes, the technical, although this production of Last Touch First was a magnificent display of movement in slow motion. But that didn’t mean that it was any less physical than most other forms of dance. Read about it in the Pittsburgh Post-Gazette and relish this clip.


Dance Beat: CC, Kyle, Attack, Nurlan

April 7, 2012

CC BUSINESS. April is shaping up as another action-packed dance month, where it’s virtually impossible to take in everything. Check CrossCurrents’ Listings page. While you’re at it, friend “Jane Vranish” on Facebook so that you will be notified of new CC postings. And I’m up on Twitter (@2keepmoving), which also notifies of new postings. At this point, I’m uncertain of how to manage in-the-moment dance business between them. If you have any suggestions, let me know via CrossCurrents, Facebook, Twitter, email (jvranish1@comcast.net where you will find the following…), cell phone, land line (though it’s becoming archaic) or, best yet, in person at a performance. Dance on!

MORE KYLE. Kyle Abraham has assembled some great notches in his belt, first a terrific mention from Claudia La Rocco in the New York Times, then the announcement from American Dance Festival, where he will appear this summer in The Radio Show (which seems to have its own legs).

ATTACKING ATTACK. Attack Theatre seems to be widening its audience base. Dance fan Stephanie Pereira actually drove in from New York to catch the company’s opening night Traveling performance at the New Hazlett. While we like our dance in Pittsburgh, could this be the start of something really big, like, Pittsburgh becoming a dance destination city? We all have our dreams…

STUDIO CONNECTIONS. Dashing Pittsburgh Ballet Theatre principal dancer Nurlan Abougaliev will be putting more time in teaching this summer at Elva Scapes’ Ballet Baroque.


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