Carmon DeLeone’s “Peter Pan” Score Soars

November 6, 2014

text reprinted from Cincinnati CityBeat 11/5/14

James Gilmer as Captain Hook

Above: James Gilmer rehearsing his role as Captain Hook in Cincinnati Ballet’s Peter Pan

- by Kathy Valin

Celebrating his forty-sixth anniversary as music director for Cincinnati Ballet under every artistic director since 1968, Carmon DeLeone, has a lot to be proud of. The company is well known for its frequent performances to live music, under the Maestro’s baton. However, this weekend is extra special, when DeLeone conducts his own original score for the full-length Peter Pan.

“Although this is the third time we’ll be performing this ballet in Cincinnati,” says DeLeone. “it is the very first time that the Cincinnati Symphony Orchestra will play my music.”

Take That, Hook

Above: “Take that, Hook!” James Gilmer and Cervilio Amador joust during a Peter Pan rehearsal

DeLeone is excited. “Not only because of the skill and world class ability of the players in the CSO,” he said last weekend in his tidy office just off studio A at the Ballet Center. “But because we are able to have many more musicians than usual. In fact, this may well be the largest orchestra (some 65 players) that’s ever played the piece.

“So, for me, I’ll be surrounded by the lush sounds of my own music. That’s gonna be a thrill, I’m sure. I’m gonna have a lot of goosebumps.”

DeLeone’s presence on the podium is a familiar one to ballet fans. His conducting style has been called supple, natural, and athletically elegant, and even though during the performance, most of the audience can glimpse only the top of his curly, grey-haired head, he’s a popular fellow. After the entire cast has taken their final bow, he’ll take the stage with them. He frequently gets the loudest accolade of the evening.

In the early 90’s, DeLeone conceived the score. “I felt I was gonna have two summers to work on it. Kind of leisurely – I planned the first to compose the music and the second to do orchestrations.”

Unfortunately, the financing did not come through in a timely way, and DeLeone had to crowd all that activity into one summer. “Between Memorial Day and Labor Day of 1994, I stayed up every night. I started working about midnight after David Letterman was off the air, until the dawn rose, about seven in the morning, and got it done.

“However, I wasn’t able to finish all the orchestration myself, so I had lots of good help from my friend, the conductor, composer and arranger Steve Reineke, who was right with me in the whole process. The other member of the music team was the late, wonderful arranger and copyist Joe Price, who did a lot of work for the Cincinnati Pops and the CSO as well.”

Lost Boys Battle Pirates

Above: Lost Boys battle Pirates

“We always knew that the flying sections would be tricky, and a sort of faux-flying gear was set up, I think it was outdoors, to test it out,” he remembers. “That was quite exciting, it was the first time I sort of heard the music and saw people fly. A few months later it was on stage (with choreography by Peter Anastos) and that was also quite an event.”

One moment in the ballet that never fails to get out-loud laughs from the audience is when Captain Hook, dances with the Crocodile. “Well, that’s one of the silliest moments in the whole ballet,” says DeLeone. “So for that I decided to borrow an old Russian song everybody knows as ‘Dark Eyes.’ I turned it into a tango. I also quote some Richard Strauss. I knew that the interaction between a crocodile and a pirate with a hook was gonna be silly, anyway, so I just made the music kind of silly as well.

What makes music silly? “You know,” he says, “Over the years, I’ve seen comedy either too far over the top or too subtle, and you can’t make it out. You can use funny musical quotes or a funny combination of instruments. Luckily, choreographer Peter Anastos, who was one of the founders of the comic travesti company “Les Ballets Trockadero de Monte Carlo” kind of had humor in his bones. It’s true – drama is easy, and comedy is hard.”

And how did he create the wonderful music during which Peter Pan, Wendy, John and Michael fly? “It’s another one of those ‘I don’t knows.’ You face a blank page and try to dream of what flying might sound like, soaring lines. My music features sort of octave skips for the violins to play.

“I feel that as a musical project, Peter Pan has worked out well. My wife and other people believe that it is their favorite. I’m not gonna argue with that. It may be my best work.”


October 29, 2014



reprinted from Cincinnati CityBeat

- by Kathy Valin

“I was born and raised in northern Israel,” says ZviDance’s founder Zvi Gotheiner, whose modern dance company, presented by Contemporary Dance Theater, appears this weekend for the second time in Cincinnati, this time in ZviDance/Dabke. The 2012 work for four couples, which premiered to strong reviews from prominent critics, draws from the rich dance and music traditions of the Levant.

“Dabke is [essentially] a line dance,” Zvi (everyone seems to call him Zvi) explained two weeks ago by phone, from New York City, where he has lived, danced and choreographed since 1988.

He first learned to do the energetic community dance on a kibbutz, one of the traditional Israeli settlements organized under collectivist principles, where he was brought up. “It’s done mainly in a circle, holding hands or shoulders. The group is performing simple patterns of steps, while the dance leaders are doing improvisation, with fancy footwork. Traditionally it’s done by men.”

Nobody knows where the original dance came from. “Scholars say it arrived through the Turks, through centuries, but it is different. It reminds you a bit of Greek or Irish dancing,” says Zvi. Today it’s common all over the broader Middle Eastern world, and often performed at weddings.

Zvi says that being brought up on a kibbutz seemed nothing special at the time. “We had no idea we were living differently,” he says. “We were raised separate from our parents. We had dormitories. Kids my age lived together.

“We were all provided with as much as we wanted, nothing was forced on us, we lived very close to nature and we celebrated the holidays with culture and folk dancing.

“I remember I could not wait for Friday nights, when we usually danced for hours. Later I saw my first dance concert, with Batsheva Dance Company, and I knew I had to dance. I never looked back.”

Much later, the choreographer first thought of making his own version of Dabke in Stockholm, when he and his partner were taken to a restaurant. “In no time, my partner and the Lebanese owner of the restaurant became friendly, and started dancing dabke between the tables.”

The idea was intriguing. “I was seeing my own network of culture, Israeli, blended with Lebanese culture – and in Stockholm,” he remembers.

But Zvi/Dance’s Dabke is no attempt to meticulously recreate the folk dance, according to Zvi, who feels deeply connected to American modern and contemporary dance. “My sensibility is Israeli,” he says. “I connect my work to that tormented country – whether I want it or not, it is always there.”

Company member Todd Allen also spoke with me by phone about helping create the work. “Zvi invited me and another dancer to spend time in upstate New York with him for three weeks. We worked from a collection of YouTube videos he had collected. Some were quite intricate and fascinating. It might take us three rehearsal days to learn them.”

According to Allen, it took the cast a long time to not look like “dancers from New York.” “It was not how we normally move – it was in the way your foot hits the floor, the way your knees bend, the way your hips move.”

After the dancers learned the steps, Zvi suggested that they turn them into their own movement phrase, in the style of Hip Hop or Modern, for instance, from which he crafted Dabke.

“This piece is overtly connected to the Middle East,” says Zvi. “I wanted to do a piece that put a light on the wonderful culture, specifically coming from Israel. Most of the Middle East narrative is seen through the prism of terrorism. I hope Dabke will generate a discussion that will bring people closer. In the end, we are all doing similar things.”

When Zvi first thought of the dance it was during the so-called “Arab Spring.” He’s not sure if the celebratory roots of the dance survive that euphoria. “In a way, the dance was inspired by fun, but other issues came into play. One dancer had Muslim women friends, struggling with equality, and that seeped into the piece.

“It’s up to the viewer to decide. The piece is getting darker as things change. It’s not necessarily a happy point. In a way, it reflects grim reality.”

“I don’t know if there is a linear narrative,” says Allen. “To me, Dabke feels contemporary. It’s not in the past, or a specific place. There are hints of female oppression and female independence in a male dominated society.”

# # #


October 3, 2014




- by Kathy Valin

reprinted from October 1, 2014 CityBeat

The years-long path that brought five boys studying at a the Ramana Maharishi Academy for the Blind Academy in Bangladore, India to the University of Cincinnati this Saturday in a free performance (reservations required) is an amazing one. From such humble beginnings, the group, today called Articulate Ability, is a veteran of over 1500 performances worldwide. Along with two sighted dancers, they perform a panorama of Indian dance styles in “Tamasoma Jyotir Gamaya . . . from Darkness to Light.”

After being attracted by rhythm and melody, the five first performed folk dance during an annual school day celebration in Bangladore. Last week, I spoke with their guru, teacher and choreographer Mysore Nagaraj, by phone.

Nagaraj, himself an established dancer, described how he first met the boys well over ten years ago. “They were euphoric and happy after their first experience, and the school hired a teacher who taught them the basics of the classical dance form and readied them with a few acts.

“But after graduating from school, they felt lost. They sought me out, and my colleague and I took them under our wing.”

Soon, Nagaraj felt the performers were capable of holding an audience as fully professional dance artists, and their touring career became a reality.

Sri Mirle, a research scientist for Procter and Gamble, and also a mentor to the U.C. student group Association for India’s Development since 2002, first encountered the group during a trip to India. He immediately wanted to support them by booking them to appear in one of AID’s cross-cultural programs in Cincinnati, which have been happening since 2002.

“It’s something that resonates with our idea of sustainable development – not giving them fish, but teaching them to fish. It was the idea of teaching them to be regular dancers, in a visual art form like dance. I think it’s inspiring for everyone – you don’t have to know much about Indian dance.”

Nagaraj remembers that when he began working with the young men, there was no methodology to follow.

“However, if you are passionate about doing something it is never a pain. Both the blind and ourselves as teachers put in lots of energy and time. It was not a smooth path. It demanded courage, perseverance and a belief in a deep-rooted dream to accomplish what some people think of as impossible – to have the public accept them first as artists, and then as people with disabilities.”

Classical Indian dance is an ancient form, with eight or so different forms recognized today. It is rooted in nuanced use of expression. For instance, there can be hundreds of hand gestures. To perform it takes years of dedicated learning, like classical ballet. The Articulate Ability dancers are expert in Bharathnatyam, the classical dance of south India, but they also perform Kathak, from North Indian and folk, ritual, spiritual and tribal dances.

“Teaching the complex grammar of Barathnatyam took nearly two years,” says Nagaraj. The main method used was tactile perception, much like teaching Braille. Each detail of movement was transmitted in this manner.

“Once having mastered the various nuances of the form, it was then a smooth journey to induct them in compositions that demanded of them the ability to move across the stage in geometrically precise movement in space that they could not see. They challenged themselves to emote the lyrical compositions with expressions they have never seen. But when the dance unfolded across the stage, our dreams were fulfilled.”

Each of the blind dancers’ stories has a tragic aspect. For instance, one, born with perfect sight, got an infection from dust and was neglected by his family. Another became visually impaired from complications of typhoid. “It was the pulsating rhythms of Indian percussion instruments, the melody in the song and musical instruments, and the moral that the lyrics conveyed in combination with freedom of movement that led them to embrace dance,” says Nagaraj. “The soulful feeling when people with disabilities are motivated by their dance abilities is unfathomable.”

In fact, the group’s name, “Tamasoma Jyotir Gamaya,” reflects the ancient spiritual traditions that still persist in Indian dance, says Mirle. “The expression, ‘from darkness to light,’ can also expand to mean ‘lead me from untruth to truth,’ or even ‘lead me from death to immortality.’”

“It’s almost a benediction, or a prayer – to let ourselves become more deeply cognizant of our place in the cosmos. These dancers, though they are blind, bring an inner vision of that.”


September 21, 2014

Derrek Burbridge

Just had to add this snap of super-talented choreographer and dancer Derrek Burbridge with his family after Saturday’s Kaplan New Works Series at the Aronoff’s Jarson-Kaplan Theater. His “Above the Box” drew thunderous applause both times I saw it. Congratulations, Derrek!


September 10, 2014


Amy Seiwert and Cincinnati Ballet dancers

Often when I watch dance, especially in creative rehearsals, I feel that my world has been refreshed. I mean that in the sense that one refreshes a page on the Internet. My connection has been updated. I am current in this world!


The give and take, the visceral shaping of movement in time that takes place between choreographer and dancer(s) is a grounding experience. It teaches me to take one thing at a time, to know my physical capacities in this increasingly virtual world of today.


So when I had the chance to watch Heather Britt and Amy Seiwert in rehearsal, and talk with them about their choreography, I jumped at the chance.



Two snaps above of Heather Britt and Cincinnati Ballet dancers

The two join three other choreographers whose brand new work can be seen this weekend and next during Cincinnati Ballet’s “The Kaplan New Works Series” production, which has moved this year from the Mickey Jarson Kaplan Performance Space at the Ballet Center to the larger 347 seat Jarson-Kaplan Theater (at downtown’s Aronoff Center). Tickets and details can be found at




Seiwert is based in San Francisco where she directs her own company, Imagery. For me, the way her dancers connect in time and space call to mind an exquisite, inevitable etching of time.


VALINKAT: Hi, Amy. Good to see you. Do you have a name for your newest piece?


AMY SEIWERT: Right now, it is called “Back To.” [reader note: I’ve also seen “Yesterday and Tomorrow” in ballet updates.] It’s set to the recorded music of Gillian Welch and her partner David Rawlings. It’s “bluegrassy” – Appalachian-inspired.


Their songs sound as if they might have been written in the 20’s or 30’s. So – these songs are current, but sound like they might have been written long ago. The lyrics and instruments especially highlight the essence of the solo that is the center of the piece. We are shifting – the world has changed so much throughout all humanity. But even with this entire shift, the emotions are the same.


How many dancers are you using?


Seven. There is a group of five for the opening and closing, and then the duet. Sarah Hairston and Zack Grubbs are one cast, Janessa Touchet and Cervilio Miguel Amador the other.


Ballet and you?

Everything I do is based in classical ballet technique, so even the weirdest turned-in moment still derives from the training of knowing where your femur is, and your pelvic girdle, and your hip for instance. So I’ll tell my dancers, sometimes we’re gonna take everything you learned about position and rotate and invert it.


As music for your dances, you’ve been working a lot with songs with lyrics lately, right? [among other songs she’s used are those of Leonard Cohen]


I have been lately, but I like to keep the range wide. For instance, when I leave Cincinnati, I’m going to Kansas City, and the piece will be much more classical. And on point.


So, I do like to do words, but I usually don’t make it literal, I don’t tell my dancers “this is what the song is about – and if they say jump we’re gonna do a lift.” For me, it’s really trying to find the essence of what that lyric is saying and take it out there.


As I’ve been watching rehearsals, I see so much graceful weight transfer, especially in duos. Can you talk about that?


I do like doing a duet that is about connection!


I really don’t let them separate that often. I like to watch a line of energy – if the gentleman does something to a lady she’s gonna catch that energy or pass it, or then it’s gonna go up here (she gestures). I kind of feel like there is a little gyroscope between the two of them, and the energy passes between them.


When I was in school at School for Creating and Performing Arts half a lifetime ago, I took music theory. We had to analyze Bach chorales. You know, “if it goes this way, then it’s going to resolve this way,” . . . it all has a mathematical sort of way about it.


Though I hope I’m choreographing it in a way that will be interesting and unique to people, really, it’s following a through-line. I think, if that person is reaching and the torso goes that way, then a fouette? Or a kick as high as it will go. And past that point will it turn around and come into something else?


Where do you draw the line between what comes out in your work between you and your dancers? How much is yours? How much is theirs? When they can’t execute your ideas, then what?


The degree of how collaboratively I work? It’s a pretty wide range but [my choreography] is always collaborative.


I might tell a dancer to do something. But the way they do it is gonna show me what comes next. And whether they even say “this feels good” or it doesn’t, you [as a choreographer] are gonna see which way their body wants to roll.


I don’t really make up that much before I come in. I’ll have images, and they’ll usually be very abstract. I’m not gonna sit there [in rehearsal] and say “OK, we’re gonna to do this, and this, and this . . .”


Because then you will come in [the next day] and it just looks wrong. It will look like they are putting on a shirt that doesn’t fit right.


When you are with them [dancers] you need to find out what you are [in your choreography] with them. Really, it’s gotta be created together. I don’t try to comment about what the dancers are. It’s not gonna look the same on everybody. That would be so boring.


You’ve worked with Cincinnati Ballet enough that you know many of the dancers here now. Can you talk about that?


One thing that I love is that I’ve got this duet with two different couples. And they look different doing it. And that’s great. I wouldn’t want them to be carbon copies of each other. Each couple is doing the same steps. They are doing things the same way, in ways that I like. But it’s colored, it’s shaded. So, it’s the same, but in very different ways.




Britt, founder of local phenomenon DanceFix, brings visceral, emotionally powerful energy to the stage in dances that call to mind forces of nature. She is choreographing her sixth work for Cincinnati Ballet.


VALINKAT: Hi Heather! I’ve been watching you choreograph for a few days now. I’m interested in what you have to say about how you see the interface between you and the dancers you are working with.


Obviously, you as choreographer have something in your mind. Part of your job is to bring your ideas out of your mind, into your body so you can teach it to them, right?


Yes, that process of transmitting ideas is very key.


Sometimes – I mean, more often than not – I have these ideas that I can’t execute. So that’s always interesting!


But, in the process of having to try to execute the idea that I have, I’ll get a new thought extension. So, a new idea is often revealed through that process.


So sometimes, it’s easy – right away I know “this movement moves exactly to the left.”


Today I saw you working with Sarah Hairston and the rest of the cast. She was lifted high above everyone, and you tried so many different ways to move her to the ground.


That’s right. And a lot of times, I’ll think I want a lift like this [she gestures] and it turns out for it to work the dancer has to have no arms. It could be just physically impossible.




But, in my head, Sarah should be able to just float around the stage! As though we have a harness, you know what I mean [she laughs].


We must have tried twenty different ways to get to that point.


What are you calling this one?


“Floating Forward. I wanted to create a community in this dance. Gabriel Gaffney Smith has composed for six voices from Vocal Arts Ensemble, who will perform live.


It’s a little bit smaller community of dancers than I’ve used previously – but I’ve created it specifically to fit the space at that new theater, I didn’t want to overpower the space in the Jarson-Kaplan Theater [which, though there are more audience seats, is actually smaller for the dancers].


This particular process has been a big collaborative effort with the dancers. A lot of effort. We really had to put all our strengths in place to create this piece. I had to use their knowledge – there are big lifts, we really had to bring everything to the table. And that is what is interesting, because it’s also what the piece is about.


I didn’t specifically plan the piece to revolve around Sarah Hairston, but the music started to unfold. I thought I’d tell the story, inspired by the uplifting music, of one person who is supported by others.


How is your sixth piece for Cincinnati Ballet different?


For one thing, it’s interesting that in the first year, I danced every moment, and showed them how I wanted it to look. I’ve had a few injuries, but it’s incredible how they can execute it like I want it to look. I love these dancers.






Detroit Jittin

August 12, 2014

Dear Councilmembers

June 25, 2014


Again, my friend Liz posts a thoughtful analysis of urban issues in Cincinnati

Originally posted on the walking green:

Dear Councilmembers:

Good morning!

I am writing in regards to a final vote set to take place at today’s (Wednesday) City Council meeting in favor of a preferred development agreement in Over-the-Rhine with 3CDC. As I’m not certain you’ll be taking citizen statements at the Council meeting, I wanted to forward my comment to you here. Thank you for your consideration.

My name is Liz McEwan and I am a resident of Over-the-Rhine. My husband and I, with our three young children, live on the most beautiful street in our city. We moved here 6 years ago for many reasons, but mostly because we believed that the urban core had been neglected for too long. We believe that strong families are the foundation of strong cities. And we wanted to help re-populate our city with a strong middle-class.

We are not hip urbanites. We are a conservative, Christian, homeschool family.

View original 372 more words

Area Choreographers Tell Human Stories

June 12, 2014

Here’s the link to my latest article in CityBeat about Cincinnati’s Area Choreographers Festival, presented by Contemporary Dance Theater.

The performances are this weekend at the Aronoff Center.


May 7, 2014


April 24, 2014



Here’s the link to my most recent dance article in Cincinnati CityBeat:




Get every new post delivered to your Inbox.

Join 291 other followers