Dance Beat: Gabe, Dennis

January 17, 2012

Lock It Up. Hip hop is coming alive in Pittsburgh. Gabriel “Kg” Ash just held a successful two-day workshop, Kg Dynasty Presents: Due Season, at the August Wilson Center, with over 60 participants. In other words, Due Season is the burgeoning professional wing of Gabe’s Kg Dynasty. It was the prelude to what he hopes is a big dance storm because Gabe and Due Season (Gabe plus LJ Duncan, Sean W. Green, Asia J,  Antwane Younger and Sharnell Younger) have big plans to conquer the New York City auditions January 21 for America’s Best Dance Crew, the hit series on MTV.

Board-ing. Choreographer Dennis Nahat comes to Pittsburgh Ballet Theatre as a man under fire. His board at Ballet San Jose has gradually been moving him out of the picture and officially fired him yesterday, as reported in the San Francisco Chronicle. The beleaguered director will be in town for the week of PBT’s Uncommon at the August Wilson Center, where the company will perform his Brahms Quintet, along with Mark Morris’ Maelstrom and Dwight Rhoden’s world premiere, Chromatic. This seems to be developing into a trend. Miami City Ballet board bungled the retirement of iconic artistic director and founder Edward Villella  last fall. And of course, we still are stinging from the bite the Dance Alloy Theater board put on artistic director Beth Corning, who had actually brought them onto the board, and the abrupt dismissal of all employees, including successor Greer Reed and the dancers, just last summer. Is dance, particularly ballet, going corporate?’

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On Stage: Catching Kyle

November 16, 2011

Exciting. Scary. Satisfying. Frightening. Those are the kinds of emotions that have running through Kyle Abraham’s mind since June.

The Penn Hills native has been on a steep artistic curve lately with the success of “The Radio Show,” largely inspired by the silencing of WAMO, a pivotal part of Pittsburgh’s black community and his father, a pivotal part of Kyle’s life, who also stopped speaking when he contracted aphasia.

Certain subsequent events have been sad because some of his original company dancers have opted to have children and can no longer tour. At the same time, he’s getting plenty of opportunities to tour with the support of the prestigious National Dance Project.

It’s been a big slice of life for the still 30-something choreographer.

From the Joyce Theater’s Gotham Dance Festival performance in June, he’s been on the go. Some of the highlights: a return to Jacob’s Pillow for the second year in a row, the Fire Island Dance Festival, a number of residencies and adding fellow Pittsburgher Patrick Ferreri as company manager.

Kyle also found out that he is “the big poster boy person” for the dance season at his alma mater, SUNY Purchase, where his company will be appearing. He jokes that he “has such an inner giggle because I was probably the only guy in the dance program who did not enter with a scholarship” (although the school rectified that after the first semester and has offered continued support).

On his way to Ecuador in July, Kyle heard that his father was in hospice care. He made a quick stop, a good thing because he learned that his father had passed the day after he got back. “I’m glad I got to see him,” Kyle says, although his dancers had to work on a residency without him while he dealt with funeral arrangements. People responded with “a lot of letters and donations” and the International Aphasia Movement has since expressed an interest in “The Radio Show.”

These days, though, the grieving comes in waves. But Kyle doesn’t allow it to engulf him. He will be heading back to the Joyce in January on a program with fellow NDP recipient Kate Weare and, in the meantime, premiere his latest project, “Live: The Realest MC,” at the Kelly-Strayhorn Theater.

“Live” will be a re-imagining of Pinocchio and his quest to be a real boy, “putting that into a gay urban context.” Kyle says that the piece took a darker turn when the Tyler Clementi story, about the gifted 18-year old Rutgers student who was outed on the Internet and committed suicide, broke in the middle of the creative process.

Tyler’s tragedy influenced the work, giving it a more aggressive outlook with much more movement. But there is still “a bit of humor” to be had in “Live.

As there is in Kyle’s return to Pittsburgh to visit some of his favorite haunts. Record Exchange, “one of my favorite stores.” Michael Varone at Shadyside’s Moda, where Kyle used to work and where his dad shopped. Gullifty’s for the apple pie.

And pizza in general, because Pittsburgh’s “doesn’t taste like any other.” Therein lies the quandary, because Kyle can’t choose between Aiello’s and Mineo’s. So he just gets both because “one tastes better warm than the other and one tastes better cold than the other.”

Which is which? You’ll have to ask Kyle.

Check Listings for the Abraham.In.Motion performance of “Live: The Realest MC” this weekend.

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On Stage: A New Dance Community Evolve-ing

August 31, 2011

Photos by Bill Shirley

Sarah Parker likes to pack her dance into bundles. This summer she not only engineered a weeklong summer intensive at the New Hazlett Theater, but also tacked on something called “THE BOOM,” event that brought together area companies.

The bubbly choreographer is into community, gathering emerging dance talent in Pittsburgh together. As for the intensive, the performance showcase was called “4-3-2-1 — From BROADWAY to the STREETS,” with an army of choreographers including Renee Danielle Smith, Shana Simmons, Maddy Landi, “Nine” (2003 revival) associate choreographer Gustavo Zajac, who happened to be in town at Point Park University, and, of course, Sarah, who turns out big production numbers at the snap of a finger.These students had no less than 15 numbers to remember, including Pearlann Porter’s nifty improv and Gabriel Ash’s popular hip-hop creations.

The next night at “THE BOOM” featured a number of young dance professionals, coming together to show the intensive students how it’s done. Among those companies represented, the oldest was Bodiography, with Chelsea Shott holding the fort .

Pearlann’s Pillow Project was next, having been founded in 2004. It was represented by Taylor Knight, who gave the event an intriguing start in “Luminography,” a sort of duet with “luminographer” Mike Cooper. So Taylor initiated the movement, with images resembling a discus thrower or a stylized hip hop artist. Then Mike took over so taht the screen behind Taylor became one of those flip books, where a figure seems animated. Crucial to the success of the process was Taylor’s choice of movement, interesting enough to be repeated, sculptural enough so as not to blur the screen.

On the whole it was a strong program, composed mostly of a new tier of companies that have cropped up recently and demonstrating that they are worthy of attention. August Wilson Center’s James Washington was a lyrical miracle in Antonio Brown’s “Solo” and Staycee Pearl showed that she was onto something new and different and exciting, coming deep from her African American heritage, in an untitled duet for Renee and Seth Grier.

Renee cropped up along with partner Jamie Erin Murphy in several pieces — the two have recently started the newest kid on the dance block, Much More Than Bones. And it was good to see something by Maddi, in collaboration with performer Katarina Danks in “Life Cycle,” an insectile solo somewhat inspired by Cirque du Soleil.

I also had my first acquaintance with Poof!, another new company and one that promotes social change through art, in a quirky little number, “Lucille and Eddie,” choreographed by Annalee Traylor and performed with Raymond Ejiofor.

Filling out the bill were Gabriel’s K.G Dynasty, Sarah’s Continuum Dance Theater and Fluidity Dance Company, an ambitious group out of Altoona that is benefitting from its Pittsburgh connections.

All in all, it seems that a whole new tier of Pittsburgh dance, one where the companies interact frequently through workshops and performances, is taking shape. Under the leadership of Pearlann, Sarah and Bodiography’s Maria Caruso, these groups seem to forging their own community identity, something that can only expand an increasingly vibrant dance scene here in Pittsburgh.

 

 

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Off Stage: Dance MVP’s 2010

January 13, 2011

It was the year for local dance companies, who went above and beyond during 2010 (click on Pittsburgh Post-Gazette). But what about the people who made it all happen, both on stage and off?

WOMAN OF STEEL. Pittsburgh Ballet Theatre principal Alexandra Kochis has been flirting with her talent, which hovered on stage with her beautiful line and pristine technique, ever since she arrived at Pittsburgh Ballet Theatre in 2006. The only thing she needed was to authoritatively engage the audience. She lived up to that promise this year with bright and shining performances as the spunky Constance in “The Three Musketeers” and a confident Marie in “The Nutcracker.”

MAN OF STEEL. I’ll give it to Nurlan Abougaliev because he took his promotion to principal dancer so seriously. Nurlan always had a fluidity about him and a natural dance presence that sometimes seemed almost casual at times, but he now takes charge of the stage with more depth, more strength, more power.

JILL OF ALL TRADES. No, she isn’t named Jill, but Michele. De la Reza, that is. Still a compelling dancer. Always prompt with her emails. A master educator. One of Pittsburgh’s most articulate advocates for dance and the arts in general.

A BALANCING ACT. Okay, one company is enough for most people. But we have two dance administrators who have taken on more than most of us can chew. Greer Reed-Jones became the artistic director of Dance Alloy Theater and also took on the birth of August Wilson Center Dance Ensemble with both verve and style. Her strength appears to be her dance connections — bringing some of the most current choreographers to Pittsburgh. Maria Caruso began with Bodiography Contemporary Ballet, added Club One fitness classes to her schedule, then branched out to take on La Roche College’s dance program this past year.

HIP HOP HAPPENING. It’s here to stay. En route to an article about hip hop dance for the Pittsburgh Post-Gazette, I encountered Brian “BWEAR” Starks, whose fervor for street dance over more than 30 years was  inspiring. A self-styled promoter, he generously chronicled the history of hip hop in Pittsburgh (with long-time pal Donald “Sodda Pop Kid” Wilson) and expertly conveyed the energy of this relatively new dance phenomenon.

NEW KIDS ON THE BLOCK. It’s definitely a trend, folks. Pittsburgh’s dance community is growing, despite the tattered American economy. During the past year, there were dance seedlings sprouting everywhere, from the August Wilson Center Dance Ensemble and STAYCEE PEARL dance project to the presenting side of Three10 Moment and EVOLVE Productions (which is in the process of spawning a spin-off company), all making a mark last year. Welcome!

DANCE, DANCE EVERYWHERE. Dance was a featured player in the Performing Arts Exchange (which we like very much) that was held in Pittsburgh for three days in September. PAE is a presenting organization that covers the Eastern and Southern parts of the United States and is an important cog in the touring machine. It was great to see the performing arts at work and congratulations are due to the Pittsburgh community for helping to make it such a success. Loved seeing the artists super-sized on the screen at PNC Park!

DANIEL ULBRICHT. He’s the real deal — an artistic entrepreneur. A top-level principal dancer at New York City Ballet, Daniel has had a relationship with Pittsburgh since he was in his early teens. This past year he came back with a thoughtful, mostly Balanchine program and a cast of home-grown dancers from NYCB (Faye Arthurs, Stephanie Zungre and Stephen Hanna), along with other young talents from the company. But he did so much more by teaching classes at  four different locations around the city and making himself accessible, something that the audience at the Byham Theater loudly appreciated. His company bosses must have been watching — they are forming a smaller touring group, New York City Ballet Moves, to access smaller American cities that couldn’t support the full company. And yes, Daniel will be one of the performers.

MOVING ENCORE. Pittsburgh Ballet Theatre did a private performance of segments from its “Light/ The Holocaust & Humanity Project” production in the studios this past fall, proving once again that dance in the studio has its own aura. The cast, led by the singular emotional quality of Julia Erickson, inhabited their characters with even more vivid portrayals this time around.

ONE IS THE ONLY NUMBER. If a tree falls in the forest and no one is around to hear it, does it make a sound? I came close to that philosophical riddle when I (and only I) attended one performance of The Pillow Project’s “Paper Memory,” a delectably intimate production about a writer. And if I wasn’t there, Pearlann Porter declared that the admirable cast and crew would have done it anyway.

MY NEW FAVORITE THING. See international dance greats without leaving the Pittsburgh city limits. Visit the Oaks Theater, where the Oakmont film house started new dance and performing arts series, beginning with the Royal Ballet in December and continuing into 2011 with the Bolshoi Ballet, Bill T. Jones and Gene Kelly. Enjoy.

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On Stage: More Dance

June 9, 2010

Former Dance Alloy director Beth Corning, now of The Glue Factory Project and more, once commented that Pittsburgh needed two more companies and 15 more dancers to have a viable dance community. Be careful what you wish for, Beth, because the competition is ramping up.

The economy may be struggling, but the artistic spirit is still there as some new groups pop up on the horizon. Besides The Glue Factory, 310 Moment made its debut this year and more is coming.

But this is about newly-appointed August Wilson Dance Ensemble, run by August Wilson Fellow and Dance Alloy artistic director Greer Reed-Jones. I have to say that I had a sense of deja vu as I attended the official inaugural performance at the slave ship-inspired building that is such a terrific addition to Pittsburgh’s performing arts scene. (Note that there is a strong dance component at the Center — a studio with a really grand revolving door and an auditorium with sight lines best served at the back of the orchestra and front of the balcony).

But back to deja vu. That was mostly a result of the programming. The performance opened with Terence Greene’s “Faith,” a piece that has been featured twice, first at the Pittsburgh Black Theatre Dance Ensemble in 2003 and then in the offshoot Pittsburgh Dance Ensemble in 2005. Greer had a hand in both, although they were essentially the same group with different titles. At the end of that first review, I wondered if Pittsburgh would take the company, essentially guest artists and students, to the next level. That didn’t happen and it faded after several years.

Now the August Wilson Center has thrown its considerable weight behind its new ensemble. Once again, Reed-Jones has shown her own talent in stirring the passions and dedication in these young dancers. Once again, she has kept her “Faith,” where a radiant Jasmine Hearn led the way, although she still needs to control her excitement for better impact.

Only this time, the group included a number of Point Park University dancers, including Hearn, instead of adult guest artists, giving the ensemble a grounded maturity that it lacked before, a sense of cohesion. Reed-Jones showed her discerning eye, picking off three of Point Park’s most prominent graduates — Naila Ansari, Angela Dice and James Washington.

Dice was under-utilized, but she showed that Point Park hasn’t graduated a  better young artist with a such a chameleon-like knack for diverse styles. She literally immersed herself in each of the works, from Christopher Huggins’ Ailey-esque “Mothers of War” to the hip-hop inspired “Legacy” by Crystal Frazier. Likewise with Ansari, who projected an intensity that was so grounded, so real.Washington got a “Solo” by Antonio Brown. It showed that he’s a young dancer of uncommon control, with legs like pillars, but still with a sensitivity to the arc of the movement. Then there was tiny Kaylin Horgan, buzzing around the stage like a bee and a much-improved Raymond Ejiofor from Carnegie Mellon. But kudos to all of the dancers. And Gretchen Moore will be moving over to Dance Alloy.

All in all, it was a great outlet for Pittsburgh’s young talent and the audience responded enthusiastically. But then, I’ve seen it before and asked, “Will this community’s immense financial and administrative resources step forward, join hands and take [substitute the August Wilson Dance Ensemble] to the next level?”

Hopefully this was only the beginning.

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Dance Beat: Attack, Jamdance, Dan, Africa

June 2, 2010

ATTACK HAS GAME. I stopped by Attack Theatre’s latest “Game Night and the Seven-Minute Dance Series” (this company has the best titles) at the Pittsburgh Opera in the Strip District. As I arrived, two “guests” were playing some kind of game on some kind of space-age stilts. But there was plenty more for others including a giant chess game, snacks and libations, video games and, of course, a preview of Attack’s latest project for the Three Rivers Arts Festival. Catch them at the

MONSTAR ATTACK. Yes, you read it right. Jame Elis of Jamdance is organizing a Monstar Performance Showcase, featuring MTV’s Jungle Boogie of America’s Best Dance Crew. Actually there will be a two-day hip-hop summer dance intensive with “The Boogie.” Participants will meet the entire crew, get training from top choreographers and can earn the opportunity to perform at the Monstar Showcase at the New Hazlett Theater June 18 and 19. For more info and to register, contact Jame at 412-287-5916 or at jamdance22@gmail.com. As to other interested parties, tickets for the 8 p.m. Showcase on June 19: $15 in advance/$20 at the door.

MIME OR YOURS. When you think about it, the conductor is usually the only one who doesn’t have a voice in an orchestra concert. So it’s a perfect fit for Pittsburgh mime Dan Kamin, who has traveled quite a bit on this premise, most recently with Taiwan’s National Symphony and  the Bismarck-Mandan Symphony Orchestra in North Dakota. I guess, given the wordless performances, it appeals to just about everyone. For more info, click on Dan Kamin.

IT’S BACK. No Pittsburgh company has had more reincarnations than Pittsburgh Black Theatre Dance Ensemble. It goes away for a while, but evidently the memory doesn’t. The Ensemble opens its wings once again this summer at Dance Alloy Theatre with two events. The first debuts this weekend in the “Unblurred” series. Doors open at 6:30 p.m. (snacks and refreshments included) with a performance at 7 p.m. Tickets: $7. Renamed “African Legacy…American Fruit from African Roots” (and formerly called “African Rainbow Celebration”),  PBTDE will perform under the artistic direction of Crisala M. Brown. And, although it’s a little confusing at present, the company is currently considered part of The Legacy Arts Project, Inc., run by Linda ‘Imani’ Barrett. The two organizations will also be bringing in Baba Chuck Davis,  founder of the African-American Dance Ensemble and DanceAfrica at Brooklyn Academy of Music and recipient of numerous awards. Pittsburghers can meet Dr. Davis, who will speak on his life and love of dance at the Alloy on June 15 at 7 p.m, with wine and cheese accompaniment. Then on June 16 at 5:30 p.m., there will be an AfroMoves class with Dr. Davis for only $10. Call Imani at 412-682-2565 or Chrisala at 412- 523-7701 for more information.

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On Stage: Right on Rennie

May 28, 2010

The explosive raw power of hip-hop remains its main draw, but artists like Philadelphia’s Rennie Harris are taking great measures to rectify that, to give this essentially urban art for substance and layers and, well, respect.

Rennie’s company, Puremovement, had already achieved that with a 2000 performance for the Pittsburgh Dance Council, “Rome and Jewels,” based on Shakespeare’s timeless love story. In the years since, Rennie has gone on to travel the world and become a global spokesperson for American hip-hop and has taken it hard to the university level, where he leads the way at no less than three institutions in codifying the latest form of dance.

The program that the company brought to the August Wilson Center was lighter than “Rome and Jewels.” It was instead filled with plenty of its trademark athletic movement geared to entertain the audience.

The style is easy-going and almost deceptive about its difficulty. Even the company’s women operated largely in their comfort zones in “Something To Do With Love, Volume 1.”  It was teasing and flirty as the womanly trio interacted with a complimentary trio of men. Maybe George Balanchine said “ballet is woman,” but hip-hop is mostly about the b-boys. It was good to see the women given the spotlight.

I loved the hip action and the changing landscape of patterns as the dancers seemed to squiggle into different formations. And that sound of squeaking sneakers — will that overcome the more familiar sounds of taps and hard toe shoes?

The women disappeared after intermission as the men took charge, first in “P-Funk,” a variation on a hip-hop round with the men circling each other and taking turns in the middle, then “March of the Antmen,” a piece with overtones of guns and violence, but not overly dangerous. The finale, “Students of the Asphalt Jungle,” was a display piece, where the men saved their best moves for last.

I have to admit that although hip-hop seems to be based on the fountain of youth and ever-ready freshness, it was pretty grand to see the muscular control and unwavering professionalism of Puremovement. And although I’m not prone to slang, you could say it was purely, totally rad.

If you missed the performance, click on Rennie Harris Puremovement for a video sample.

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Dance Beat: PBT, Point Park, Hip-Hop

May 21, 2010

It’s time to play catch-up on a very busy spring season (April/May), which brought buckets of dance.

PITTSBURGH BALLET CELEBRATES — TWICE. PBT officially closed out its 40th anniversary season with a reception after the Sunday matinee of “Swan Lake” at the penthouse suite in Piatt Place. Costumier Janet Groom provided an elegant display of costumes, which provided counterpoint for a collection of pointe shoes designed by local artists (bids were welcome).

MORE PBT. Then the PBT dancers took matters into their own hands at the Dancers’ Trust performance at Point Park’s George Rowland White Performance Studio, to benefit the inevitable transition into other careers. This was the best of the series so far. The classics included an assured “Diana & Acteon” by Christine Schwaner and Alexandre Silva, a beautifully-detailed “White Swan” encore from Erin Halloran and Nurlan Abougaliev and a lovely pas de deux from “Coppelia” with newbie corps member Amanda Cochrane and the stylish Luca Sbrizzi. Julia Erickson was picture-perfect in George Balanchine’s “The Man I Love” with Nurlan, while Hiroyuki Nagasawa acquitted himself well in a solo from “Flames of Paris.” Likewise with Robert Moore in his first effort, “Ondes do Mar,” for Ashley Wegman and Alejandro Diaz. But the sentimental favorite was anything associated with former PBT member and now PBT staff teacher/choreographer, Alan Obuzor. A performer of undeniable charisma (I’d pay to watch him pedal a bike across the stage), he offered a solo (“Permanent”), a nifty duet with Erin (“I Know” by Fiona Apple) and a finale to the Dave Matthews Band, “Trouble.” You wouldn’t know that he has knee issues from his  plush dancing. I could see him with any contemporary company, perhaps with his own using homecooked choreography — he has a talent for it. At any rate, we should have more of Alan. This event could be a hot ticket, if things continue this way in the future.

HIP-HOP UPDATE. Jame Samuels had a healthy group at the Pittsburgh Center for the Arts to work with Sean Bankhead, hip-hop choreographer to stars such as Beyonce and Brittany Spears. The group was attentive and disciplined for his rhythmically quirky and difficult routine. It demonstrated the interest that lies waiting in Pittsburgh. Also, as a result of my article on Pittsburgh’s hip-hop history in the Post-Gazette, Barry Rabkin contacted me. He’s the proprietor of the “largest street dance store in the world,” CypherStyles.com, with over 1,000 videos available. A native Pittsburgh, he has worked with mr. wiggles, Ken Swift and Mr. Freeze, already famous for their contributions, and rising stars such as machine and roxrite. Check out his web address at CypherStyles.

SENIORITIS AT POINT PARK. Speaking of transitions, it’s hard enough to make the move to the university dance level. But the conversion into a professional career is almost impossible. PPU put together its inaugural Senior Showcase, two-day event where 14 graduates performed for and took class with seven U.S. company representatives, including Giordano Dance Company, Missouri Contemporary Ballet, Danceworks Chicago and Ballet Arkansas. A great way to provide a springboard into the future!

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On Stage: B-boying in Pittsburgh

May 20, 2010

In the short time it’s been around, hip-hop has established a powerful presence around the world. But I didn’t realize how far hip-hop had come until I visited the hallowed ground at Jacob’s Pillow Dance Festival last summer and encountered Rennie Harris during a two-week workshop. The powers-that-be at Jacob’s  Pillow created a buzz of excitement over the project. I haven’t seen much of hip-hop around Pittsburgh. So when the August Wilson Center brought in Rennie Harris Puremovement, I decided to nose around and see just where it is flourishing here. What emerged was a colorful group of passionate artists, a couple of whom were around at the beginning and several of whom will have an impact in the future. Click on Pittsburgh Post-Gazette.

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On Stage: A Philadanco Explosion

September 29, 2009

Philadelphia Dance Company provided a real test for the August Wilson Center this last weekend. See what it’s like at the Pittsburgh Post-Gazette.

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