In you case you missed it, my Top Ten in dance appeared in the Pittsburgh Post-Gazette in December. Now we can discuss the performers who infused that choreography and their considerable contributions to a vibrant local dance scene. Kudos to the women, who were extraordinarily strong during 2009.
Woman of Steel. Pearlann Porter is proud of her P’s — prolific, petite, paraphrastic (she can talk about her art at the drop of a hat), perceptive, party hearty, polychromatic and, of course, The Pillow Project. She also moved at a prestissimo pace in 2009, directing, performing and/or choreographing half a dozen full-length extravaganzas at the Space Upstairs, initiating a four-month Urban Experiment (improv dancing in the streets), teaching at Point Park University and then venturing out to choreograph for the Dance Alloy.
Man of Steel. Attack Theatre’s Peter Kope chooses his dance moments carefully these days. But he is now emerging as a talented director with a creative impulse as sharp as they come. Although the Attackers are a wonderfully collaborative group of performers, it is Kope who whittles the productions down to display colorful theatrical threads. He also spearheaded the move to Pittsburgh Opera, which included a second rehearsal studio, outfitted by this master carpenter, just down the alley. And he is, first and foremost, a great dad to Xander.
Dancing Classrooms. With numerous titles to their credit, international ballroom dancers and owners of Art & Style Rozana and Terry Sweeney showed championship form while teaching fifth grade students in six Pittsburgh Public elementary schools this fall. For 10 weeks and 20 lessons they brought elegance, responsibility and respect into the lives of more than 300 students. This was the inaugural year (hope you saw the documentary “Mad Hot Ballroom” on which the lessons were based) and it set a high standard.
Mata Hari. PBT’s Alexandra Kochis had more disguises than this celebrated spy. I still recall her fresh-faced, independently-minded Juliette and the silent scream at the end of “Romeo et Juliette,” one that carried to the back of the orchestra section at the Benedum Center. She was also a winsome Aurora in “Sleeping Beauty,” layering her interpretation with great delicacy and detail. But the most surprising was her ensemble work in “Light/The Holocaust & Humanity Project,” where she tossed aside the clarity of her technique for the emotional angles and grotesqueries needed for choreographer Stephen Mills’ contemporary style. She may be the most versatile dancer in Pittsburgh.
The Stanislavski Dancer? Stephanie Dumaine has become a dancer who internalizes the “theater” in Dance Alloy Theater with great finesse. She has created extraordinarily luminous moments in her solo work during the past year, like Stanislavski, building from the “inside out” and the “outside in.”
Best Move. Attack Theatre transported its energetic and effervescent style to a new home at Pittsburgh Opera. The company’s inaugural program, “Incident[s] in the Strip” displayed the space, a blend of historic exposed brick with contemporary and theatrical touches, at its very best. If you haven’t done so, check it out Jan 29 (see Listings) when the company puts on “Game Night and the Seven Minute Dance Series” at its new home in the Strip District.
The Big Switch. It was the big news of the year as the Dance Alloy Theater board summarily dismissed artistic director Beth Corning and instated education director Greer Reed-Jones in her place, the first time the company had not staged a national search for a replacement. But Reed-Jones came with her own resume (Dayton Contemporary Dance principal dancer, CAPA, Pittsburgh Dance Ensemble, independent choreographer) and Corning has re-emerged with her own vision, The Glue Factory, which will assemble internationally-known dancers over 40 in March. We’ll watch for the results during 2010.
Pointe in Time. Always one of the highlights of the Pittsburgh party circuit, there were some reservations when PBT’s fall event was transferred from the elegant black and white ballrooms at the William Penn Hotel to the more traditional Hilton, where the ballroom there was draped in tons of chiffon. Nevertheless some of the formality disappeared as the guests definitely “got down” to the sounds of Gary Racan and the studio-e Band.
Reaching for the Sky. The energy was literally bouncing off the Dance Alloy walls at the Jones Intensive this past July. Sixty students, all on scholarship, spent two weeks honing their dance skills, capped by a performance at the Kelly-Strayhorn. Wish we could bottle it.
Gone But Not Forgotten. Dancers come and go, but I still find myself luxuriating in the memory of the quartet of PBT dancers who moved on this past May. Maribel Modrono, Christopher Rendall-Jackson, Daisuke Takeuchi and Kaori Ogasawara each left an indelible footprint, both in their artistry and off-stage demeanor, that has formed a chain link of memorable moments.