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Lydia Johnson Rep Class @ Peridance

Wednesday June 29, 2011 – I went over to Peridance today where Lydia Johnson is having late-morning rep classes (11:30 AM start time) all this week. It was a smallish class which in a way was extra-beneficial to those who were there because they got individual attention in detailing and the opportunity to perform passages of dance as a solo experience. Instilled by the music of Beethoven (his quartet #16, opus 132) the atmosphere in the studio became almost churchlike in it solemnity; some of the gestures evoked images of prayer, or of piety.

The work from which the phrases came is called CODA and was created by Lydia Johnson in 2006. It’s a work of hers I’ve never seen (though I hope I’ll get a chance someday). Three of Lydia’s Company dancers – Lisa Iannacito McBride, Laura DiOrio and Jessica Sand – took turns coaching the dancers as they learned the passage.

The dancers worked as a group, then in trios and eventually they were dancing the phrase individually. At one point Lydia called on them to dance the passage as a canon, each dancer starting at a different time. This worked out quite beautifully.

I admired dancer Bryan Longchamp’s seriousness of intent; a hip-hop dancer, Bryan came to Lydia’s class with a desire to experience new modes of movement. It’s a bit like learning a foreign language. As the class progressed, the new style began to work its way into Bryan’s muscles and his dancing looked increasingly persuasive.

Normally photography is not allowed at Peridance but Lydia obtained special permission and the dancers all agreed to my taking some pictures with my Lumix. I wish they were sharper, but they do catch the nice studio atmosphere and something of the individual expressive qualities of the dancers. Here’s a sampling:

Lisa Iannacito McBride leads things off.

Laura DiOrio keeps a watchful eye.

Lauren Jaegar, Ella Bandes

Kana Sano, Lauren Jaeger

Kana

Angela Guthmiller and Jessica Sand

Lauren Jaeger

Ella Bandes

There are additional photos from this class session in a Facebook album here.

June 28, 2011
Gabrielle Lamb @ Gibney Dance Center

Dancer, choreographer and film-maker Gabrielle Lamb (above with choreographer Luca Veggetti, photo by Kokyat) will be offering donation-based classes at the Gibney Dance Studios on July 8, 9, 11 and 12 at 10:30 AM. Gabrielle has a space grant from Gibney and she has already used part of her time there creating a fascinating duet entitled TwoFold which I was lucky enough to be able to see during its creative process. You can view this work, danced by Gabrielle and Giorgia Bovo, here. Gabrielle’s also been creating a film for Ballet X.

Gabrielle writes on the Gibney blog: “I am especially excited about the final component of my grant: my community project. Thanks to the generosity of the Gibney Dance Center, in July I will be teaching a series of classes which will be available to dancers on a pay-what-you-can-afford basis. All proceeds will go to City Harvest. In preparation for a choreographic residency at Hubbard Street Dance Chicago last year, I began constructing the framework for a contemporary dance class that includes elements of conditioning and strengthening, while encouraging freer use of the head and greater fluidity of the spine in three dimensions. Starting out, I had the help of a Laban Movement Analyst and Pilates instructor, and among my other important influences have been my yoga practice of many years and my novice explorations of hip-hop and capoeira.

The warm-up starts on the floor and builds up slowly through sitting and medium levels. It demands whole-body coordination, with a particular emphasis on arm and core strength, in order to help the dancer move fluently to and from the floor. I alternate choreographed exercises and etudes with improvisations structured to introduce unfamiliar movement concepts and to allow dancers to explore their own creativity as movers. I have since expanded and developed the work in classes I have taught at the Joffrey Ballet School and at BalletX in Philadelphia. And I am very happy to be teaching at the Gibney Dance Center on July 8,9,11,and 12, from 10:30-noon. This is a valuable opportunity for me to meet new dancers and incorporate fresh influences into my work, while making a contribution to a very worthy organization.”

Of the studios at Gibney, Gabrielle writes: “I have felt so lucky to have had access to these grand, sunny spaces at the Gibney Dance Center. These are not just big spaces; they are big spaces that inspire, with their high ceilings and their big windows looking out on the elegant neighboring buildings. I have felt on the one hand that I had the time for play and experimentation, and on other hand that I wanted to make the most of every hour.”

I first saw Gabrielle at Christopher Wheeldon’s studio when MORPHOSES were preparing for their 2009 peformance with Martha Wainwright in Central Park. I picked up immediately on Gabrielle’s unique energy, a ballerina steeped in the classic style yet vividly contemporary in movement and persona. She appeared with MORPHOSES again in 2010, dancing in Pontus Lidberg’s VESPERTINE at The Guggenheim. Her MORPHOSES connection continues in 2011 when she will dance in Luca Veggetti’s BACCHAE at The Joyce, premiering on October 25th. Also this Autumn, Gabrielle will appear in Emery LeCrone’s new ballet to music of Elliott Carter for The Guggenheim’s Works & Process series.

Here at Oberon’s Grove, we’ll be following the development of both the Morphoses BACCHAE and the LeCrone/Works & Process piece. Meanwhile I’m planning to check out Gabrielle’s class at Gibney (I’ll be watching, not participating) and would love to see lots of New York’s dancers from all genres there.

June 27, 2011
Catching Up With Tom Gold

Above: Rachel Rutherford and Jared Angle, photo by Jaqi Medlock.

On Saturday June 25th at City Center Studio, invited guests saw a preview of works by Tom Gold which will be performed during an upcoming tour to France and Israel, winding up at Bilbao where Balanchine’s AGON pas de trois will be specially added to the repertoire (danced by Amanda Hankes, Russell Janzen and Stephen Hanna) at the Guggenheim Bilbao for a performance in conjunction with the Museum’s Picasso exhibit, saluting the connection between Balanchine, Picasso and the Ballets Russes.

“Remain calm!”, I said to myself as I walked into the studio ante-room to find several of my idols all in one place, stretching and chatting. Tom Gold has gathered together an impressive group of his friends from New York City Ballet for this tour: Abi Stafford, Sara Mearns, Rachel Rutherford, Gretchen Smith, Likolani Brown, Amanda Hankes, Jared Angle and Russell Janzen. Tom is also dancing himself (looking great, by the way) and Stephen Hanna will also be dancing though he wasn’t there today. I asked photographer Jaqi Medlock to meet me there so I’d have some photos to share.

Today in the studio we saw Tom’s works Mozart Variations, Gershwin Preludes and Elemental. On the tour, his Astor Piazzolla ballet Tango Fantasie will also be revived. The repertoire will further include Balanchine’s WHO CARES?, Robbins’ IN THE NIGHT, and three classic pas de deux: SWAN LAKE (White Swan), NUTCRACKER and SLEEPING BEAUTY.

Tom said: “I have created a new pas de deux for Rachel Rutherford and Jared Angle (above) to the Gershwin Preludes. Rachel has been with my group since almost the beginning and I wanted to create something very special for her as she is retiring this year and as a thank you to her for always being a wonderful participant in my creative process.”

Rachel looks to be on peak form…

…and she and Jared have such a nice rapport.

Here are some more of Jaqi Medlock’s images from the rehearsal:

Abi Stafford

Jared & Abi

Sara Mearns

Russell Janzen

Likolani Brown

Likolani & Russell

Willy Burmann and former NYCB ballerina Stacy Caddell discussing fine points with Sara Mearns and Jared Angle.

The mood in the studio was light-hearted (Sara and Jared, above); the dancers head up to Saratoga for NYCB’s July 5th opening, playing at SPAC for two weeks before Tom’s tour begins.

Tom Gold Dance plan to perform here in New York City in the coming months. Needless to say, it will be a red-letter occasion.

June 26, 2011
FIVE MINUTES: Amanda Selwyn Dance Theatre

Saturday June 25, 2011 – Coming down to the wire after my busiest few weeks ever, I spent the afternoon watching some of my favorite NYCB dancers at Tom Gold’s studio (more about that later), then headed downtown to experience a new company: Amanda Selwyn Dance Theatre. I hardly ever get a chance to try something different because my calendar is so full, but the publicist who invited me to Selwyn cunningly attached photos by Paula Lobo (above) and Christopher Duggan to her invitation. Both the dancers and the stage images caught my fancy. I’m glad I went: FIVE MINUTES was 100% enjoyable.

As my friend Tom and I found our seats at Dance Theater Workshop, the projection of a large digital clock onstage was ticking down the seconds til the performance began. It started on the dot and ran in a series of finely-paced scenes for exactly 55 minutes.

Working with a compilation score, each movement of which lasts five minutes, Selwyn presents her six dancers in ten seemingly un-related short works each with different costumes, lighting, projections and moods. The underlying theme is the passage of time and how we spend it; some of these vignettes flew by, others took a more leisurely pace. Working in various combinations (solo, duo, trio, ensemble) Selwyn’s very attractive dancers each have ample opportunity for both technical and personal expression. The dancing was excellent, the ever-changing musical and visual settings giving each dancer the possibility to explore many moods.

As the evening unfolded, there were some particulary luminous moments such a the sustained, lyrical duet for Robert Vail and Joori Jung (above, Christopher Duggan photo). Later, two strikingly beautiful men, Francisco Silvino and Louie Marin, dance conjoined solos in pools of light, the musculature of their torsos set aglow.

Throughout the evening the lighting and projections created dreamlike settings (Paula Lobo image, above) which wrapped the dancers in colour or created chiaroscuro effects. Each five-minute segment held the imagination. There were moments of wit but they never descended to cuteness; the dancers did speak briefly: “You have five minutes…”

Paula Lobo image, above. In less than an hour, Amanda Selwyn and her troupe had given us dance that was entertaining and lovely to watch along with a reminder that time is fleeting: use yours wisely.

We came out into the Chelsea evening where the streets had a special energy: on the eve of Gay Pride Day 2011, the New York City gay community and their suppportive friends had much to celebrate.

Dancers: Jenny Gillan, Ashleigh Gurtler, Joori Jung, Louie Marin, Francisco Silvino, Robert J. Vail

Sound Design for Five Minutes by Joel Wilhelmi. Costume Design is by Anna-Alisa Belous. Lighting Design is by Dan Ozminkowski. Projection Design is by C. Andrew Bauer. Scenic Design is by Tom Gleeson. Stage Manger: Tiffany Tabatchnick.

June 25, 2011
Miro Magloire/New Chamber Ballet

Friday June 24, 2011 – Miro Magloire and his New Chamber Ballet hold a unique place on the New York City dance scene. Performing works deeply rooted in classical ballet technique, NCB use an intimate studio setting to bring the viewer as close to dance as one can get. As a composer and musician, Miro puts an equal value on the music we experience at his performances: performed live by excellent musicians, we frequently hear works by contemporary composers that we might not otherwise get to know.

Miro’s troupe of ballerinas allow us not only to enjoy their individual dance-personalities up close but also to observe the technique of dancing on pointe in a way that can’t be grasped in the large venues where ABT and New York City Ballet perform.

Miro Magloire frequently re-visits his earlier works and brings them back with fresh details. Tonight’s opening THE GAME was originally developed under the title TABLE. Much of the piece looks as it did in the earlier version, but a deck of cards has been added giving a focus to the subtle combat between the two seated women. Madeline Deavenport and Katie Gibson (top photo by Kokyat) each periodically skitters away from the table to dance in jaggedly expressive phrases. Violinist Erik Carlson’s mastery of the Brian Ferneyhough score underlines the tension between the two players; Katie wins the game as the cards go flying across the studio space.

Miro’s working on a new piece to Lucio Berio which will be shown in the Fall, In the meantime, pianist Melody Fader gave us a musical preview tonight, playing Leaf from Six Encores as a solo interlude.

Lieder by Schubert, Schumann, Brahms and Wagner inspired LOVE SONG SOLOS, which premiered tonight. However, there is no singing involved. Instead Miro used the songs as a map, transcribing them for maracas (!) which he skilfully played himself. Who but Miro would imagine such a musical departure? But it works. Three dancers – Katie Gibson, Alexandra Blacker and Elizabeth Brown – each have a solo. They wear mossy green tunics by costumier Candice Thompson. Devoid of a literal story line, the dances nonetheless echo the emotional aspects of the original songs: passion, serenity, agitation and longing are conjured in movement. This unusual work gives each dancer ample expressive opportunity.

Choreographer Emery LeCrone calls for sustained energy levels from three dancers – Lauren Toole, Victoria North and Maddie Deavenport – in CHAMBER DANCES. This three-movement work set to John Adams’ Road Movies propels the dancers thru in-sync trio passages with relesntless pacing. A calmer central movement gives way to more bursts of movement in the finale. Each girl has a solo in which Emery builds on individual attributes to give us a personal look at each dancer while never stinting on technical demands.

A real workout for the threesome, CHAMBER DANCES signals Emery LeCrone’s ongoing ascent in the choreographic sphere. Earlier in the day, I got to watch another work that Emery is developing for the Guggenheim’s Work & Process series. More about that – with Matt Murphy photos – coming soon.

Alexandra Blacker is a dancer Kokyat and I have really admired in her performances with New Chamber Ballet. This past January we just happened upon Alexandra working in the studio with Emery LeCrone and Deborah Wingert on the solo VIRTUOSA for New Chamber Ballet; that’s where Kokyat took the above photo. Alexandra will now be moving back to California; it’s been lovely getting to watch her in several works with NCB during this past season.

June 24, 2011
Jennifer Muller: THE WHITE ROOM

Above: Mariana Cardenas of Jennifer Muller/The Works photographed by Matt Murphy.

Friday March 25, 2011 – THE WHITE ROOM is an evening-length creation by Jennifer Muller/THE WORKS which will premiere at the Cedar Lake Theater on June 22nd. We have been following the creative process of this piece since April 2010 when we were invited into The White Room for the first time. In October 2010, Kokyat and I went back to Jennifer’s studio again to see how the work was evolving.

Today I asked photographer Matt Murphy to join me for a third visit as Jennifer prepared to show us newly-created scenes from the second act of THE WHITE ROOM. This dramatic dancework, to a score compiled from various works featuring the cello, runs an emotional gamut from violence to tenderness. Power (and the corrupting influence of power), deceit, passion, despair and the myriad facets of human relationships are depicted by Jennifer’s brilliant ensemble of dancers who move with a distinctive combination of raw physicality and spiritual grace thru her demanding steps and often harrowing dramatic situations.

One of the most exciting aspects of a visit to Jennifer Muller’s studio is that her dancers go into full performance mode, giving unsparingly of themselves both from a technical and an emotional standpoint. Above: Elizabeth Disharoon and Pascal Rekoert. Since I began blogging I have had many wonderful experiences of getting close to dance both figuratively and literally. That is especially true at Jennifer’s studio where the intensity of the atmosphere seems to put the viewer in the very center of the dance.

Matt produced a beautiful portfolio of images from the rehearsal which I think reflect the generosity of spirit that the choreographer and dancers of Jennifer Muller/The Works always evince.

The men of the Company

Seiko Fujita

Abdul Latif, Elizabeth Disharoon

Jen Peters

Gen Hashimoto

Rosie Lani Fiedelman

Elizabeth Disharoon, Pascal Rekoert

Ensemble with masques

Elizabeth Disharoon and ensemble

Pascal Rekoert

Rosie Lani Fiedelman

Dancers watching dancers: Mariana Cardenas, Duane Gosa, Jen Peters, Mario Bermudez Gil and Seiko Fugita.

Jennifer Muller.

All photos by Matt Murphy.

June 22, 2011
THE WHITE ROOM: A Paula Lobo Gallery

A gallery of images by photographer Paula Lobo from the premiere presentation of Jennifer Muller/The Works’ THE WHITE ROOM. Read about the evening here. Above: the dancers are Elizabeth Disharoon, Pascal Rekoert, Alvon Reed, Mario Bermudez Gil, Abdul Latif, Duane Gosa and Jen Peters.

Click on the images to enhance the view.

Hsing-Hua Wang, Duane Gosa and Seiko Fujita

Alvon Reed, Rosie Lani Fiedelman

Hsing-Hua Wang

Gen Hashimoto, Hsing-Hua Wang and Susanna Bozzetti

June 22, 2011
Giorgio Tozzi Has Passed Away

I’m very sorry to learn of the death of Giorgio Tozzi, the basso whose voice was among the first that I became familiar with when I started listening to opera at a very early age.

My parents had presented me with a prophetic birthday gift: a two-LP set of Verdi and Puccini arias culled from various RCA Victor recordings. Tozzi was the featured basso (the other singers were Milanov, Albanese, Peters, Bjoerling, Peerce, Merrill and Warren…what a collection of voices to cut one’s operatic teeth on!) and I literally wore out the tracks of his performances of arias from NABUCCO and SIMON BOCCANEGRA. Once my voice changed I would try to sing along with Tozzi in these arias, and also with his rendition of “Some Enchanted Evening” which my mother loved so.

Giorgio Tozzi sang Don Giovanni in the very first performance I ever attended at the (Old) Met…

…and he was my very first Hans Sachs (at the ‘new’ Met). I saw him so many times over the years: as Daland, as Philip II, as Fiesco, as Colline, Mozart’s Figaro, Ramfis and and as Count Rodolfo in LA SONNAMBULA. He sang more than 500 performances with the Metropolitan Opera (in-House and on tour) between 1955 and 1975. He created the role of the Old Doctor in Samuel Barber’s VANESSA and sings in the classic recording of that opera. Tozzi sang in the final trio from LA FORZA DEL DESTINO during the gala concert that marked the end-of-an-era closing of the Old Met in 1966.

In 1978, a few years after he had left The Met, I saw Giorgio Tozzi onstage for the last time. He sang (an acted) grandly as Oroveso in Bellini’s NORMA in a performance at Hartford CT opposite the thrilling Cristina Deutekom as Norma.

Giorgio Tozzi’s voice became widely known outside the world’s opera houses when he sang the music of Emil de Becque for the soundtrack of the film SOUTH PACIFIC (Rossano Brazzi portrayed de Becque on-screen). Tozzi later appeared in stage productions of the musical and on Broadway in MOST HAPPY FELLA.

Giorgio Tozzi sings the Old Doctor’s aria from VANESSA here: “For every love there is a last farewell; for each remembered day an empty room.”

May 30, 2011
Four Stars from New York City Ballet

Paul Kolnik’s images from two recent performances at New York City Ballet: above and immediately below: Janie Taylor and Robert Fairchild in Balanchine’s LA SONNAMBULA. Read about their performance here.

This performance marked the debuts of Janie and Robert in LA SONNAMBULA.

Above: Teresa Reichlen and Amar Ramasar in a performance of the Peter Martins/John Adams ballet FEARFUL SYMMETRIES. I wrote about this revival here.

May 30, 2011
In the Studio with 360° Dance Company

Saturday May 28, 2011 – After watching Roman Baca’s HOMECOMING aboard the USS Intrepid, Kokyat and I went over to the DANY Studios where dancers from 360° Dance Company were in rehearsal for their upcoming performances at Dance Theater Workshop. The Company will present five works including a New York premiere entitled What was Still Is choreographed by Martin Lofsnes. Choreographers from Mexico, Norway and Italy will be represented. The performances are June 2nd – 4th. Information here.

New York is a city filled with beautiful dancers and today we had the pleasure of meeting two of them, Martin Lofsnes and Danelle Morgan, for the first time. Martin Lofnes has danced with the Martha Graham Company from 1993 to 2006 dancing principal roles in the Graham classics; he has also worked with Pearl Lang, Matthew Bourne and Maurice Bejart, and he serves on the faculty of The Ailey School.

Martin spoke to me briefly about choreographer Jane Dudley and then launched immediately into a solo created by Ms. Dudley in 1934 entitled Time is Money. Set to a spoken text, the solo looks as fresh and meaningful as if it were just choreographed this morning. Martin’s spacious and fluid style seizes the imagination at once.

Martin Lofsnes rehearsing Jane Dudley’s Time Is Money.

In the duet Que Color Tiene El Amor (What Is The Colour of Love?), choreographed by Ricardo Flores, the strikingly attractive Danelle Morgan was a splendid match for Martin in terms of vivid lyricism and dramatic nuance. I’ve seen an awful lot of wonderful dancers at close range in their studios these past couple of years but Martin and Danelle really had something to say to me today. Their dancing continually gave me those little rushes of emotion that make my quest of pursuing the city’s best movers and shapers so rewarding.

The programme for 360° Dance Company’s performances at Dance Theater Workshop further includes a second work by Jane Dudley: Cante Flamenco, and Alessandra Prosperi’s Satsang. The new Lofsnes work, What Was Still Is, is set for six dancers to a score compiled from Middle Eastern, Mexican, Spanish and American works.

Rehearsal photos by Kokyat.

May 29, 2011