CINCINNATI BALLET’S CARMON DELEONE HITS MILESTONE ANNIVERSARY

October 17, 2018
  • by Kathy Valin

Here’s a post from CityBeat on Cincinnati Ballet Music Director Carmon DeLeone’s 46th anniversary with the company. He was conducting his own score for “Peter Pan,” which also runs through this weekend at The Aronoff Center. With one difference:  now it is Carmon’s 50th anniversary!

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.”

 

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REVIEW OF COLORADO BALLET’S THE SLEEPING BEAUTY

October 11, 2018

Yosvani Ramos, Dana Benton and Artists of Colorado Ballet by Mike Watson_2.jpg

Dana Benton and Yosvani Ramos photo by Mike Watson

– by Kathy Valin

 

Colorado is known for its scenic outdoor activities but a recent trip to Denver was highlighted for me by Colorado Ballet’s totally believable production of “The Sleeping Beauty.”

 

Downtown Denver’s Ellie Caulkins Opera House was a fine setting for this perennial classical favorite, which premiered in 1890. Set in a vaguely European world with courtiers and castles, the familiar fairytale might be seen as a relic, light on content, but there can be mythic resonance in this tale of a princess under a spell rescued by a handsome prince. Even more importantly, the story anchors a full-scale production that “showcases the purity of classical ballet,” according to artistic director Gil Boggs.

 

And thus on Saturday evening (10/6), Dana Benton nailed the role of Aurora, the princess put under a spell by the evil fairy Carabosse, (because yes, in this world, fairies are normal). She was on point (pun intended) in the successive balances required by the Rose Adagio in Act l, as each of her suitors takes his turn showcasing her. Her dancing was confident, expansive and benevolent. For instance, turns spooled effortlessly. She often phrased her movements unhurriedly with serene exactitude. Her upper body was expressive in the placement of shoulders, arms, wrists and hands, and the precise direction of her gaze. Battements floated upwards rather than being kicked into place.

 

Yosvani Ramos, as Prince Desiree, showed strong technique and a bright stage presence. He could execute soaring jumps, multiple tours en l’air and flashing tours a la second. He was thoughtful in his searching solo in Act lll.

 

Together, their interactions showed a strong chemistry. More than once they executed a thrilling fish dive, and drew applause. Once Ramos threw his partner high and released her for a brief moment. He also supported Benton just before he released her into a stunning arabesque balance, which she confidently held for a few electrifying seconds.

 

Adam Flatt, the company’s Musical Director and Principal Conductor, brought out the dynamism and loveliness of Tchaikovsky’s score, often said to be one of his three greatest ballet scores (Swan Lake and The Nutcracker are the others).

 

Other highlights were Nicolas Pelletier and Melissa Zoebisch in the Puss-N-Boots variation. Their feline antics drew laughs and applause. Arianna Ciccarelli was a timid Red Riding Hood to Jeremy Studinski’s insistent Wolf. In Bluebird, Francisco Estevez made a fine diagonal of brise voles with Sarah Tyron as his fluttery partner.

 

Asuka Sasaki made a notable Lilac Fairy, whose mime was crucial to the plot.

Gregory K. Gonzales as a larger-than-life Carabosse, the evil fairy who casts the spell, was suitably scary, along with his four wild-haired Attendants.

 

There’s a lot in this production to enjoy, especially the slowing down of time in a world in which we seem to be rushing to enjoy one experience after another. It runs through October 14. It’s a wonderful ballet.

 

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SPECTACULAR CARMINA BURANA TO DAZZLE THIS WEEKEND ON DOUBLE BILL AT CINCINNATI’S MUSIC HALL

February 7, 2018

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Above: Nicolo Fonte, choreographer of  this weekend’s Carmina Burana, half of a double bill from Cincinnati Ballet, explains the expression he wants from dancer Maizyalet Valazques, during a run-through of his new ballet last Friday at the Ballet Center.

It’s Carmina Burana time! Cincinnati Ballet has scheduled six performances of the  Cincinnati premiere of this passionate, massive  and ever-popular work, beginning Thursday. Last Friday, I was able to go into the studio and watch Associate Artistic Director Johanna Wilt and the choreographer for two hours as they ran segments of the work and gave notes to the dancers.

O Fortuna, indeed!

The presentation is a collaboration between Cincinnati Ballet and Ballet West, which premiered the work in November, to accolades. Fonte, who is Resident Choreographer at Ballet West and busy throughout the world, has contributed choreography for the entire work, which joins 18 members of the Ballet with live music from the Cincinnati Symphony Orchestra in the pit (under the baton of Music Director Carmon DeLeone), and singers of the May Festival Chorus, who are  amazingly suspended over the Music Hall stage, for a performance sure to be as boldly dramatic as it is physically and aurally powerful. I’m not 100% sure I understand the staging of this amazing creation, but do know the device suspending the singers was built in Tennessee, and is called a truss set! It’s apparently somewhat like a bridge on which the singers are positioned. If I’m correct, soloists at certain points actually are on the same stage area as the dancers with whom they are performing.

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Cincinnati Ballet dancer Melissa Gelfin looks ecstatic as she rehearses with Taylor Carrasco and James Cunningham

Carl Orff composed Carmina Burana in 1935. In fact, though the music has always been a popular concert offering, his original intention was that it be sung together with “instruments and magic images.” Orff subscribed to the his own dramatic concept of “Theatrum Munti,” in which music, movement and speech were inseparable. He set Carmina to medieval songs discovered in a Benedictine monastery a few decades earlier by the then-modern world. Though there was rudimentary music notation with the songs, Orff’s music does not draw from that. In fact, he was extraordinarily giddy with his own work. To his publisher, Schott Music, he said “Everything I have written to date, and which you have unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.”

Notable for it’s directness, and abrupt rhythmic changes, and the shimmering orchestration reminiscent of Stravinsky, the score has also been criticized for its lack of harmonic complexity. But no matter, the music’s 1937 premiere in Frankfurt, Germany, was immediately popular to the masses, including (unfortunately) the Nazi movement. Nevertheless, it has become an international staple of the classical music repertoire, and there is some evidence that Orff was left-leaning in his original political beliefs. Today there is no overt political meaning attached to Carmina.

The score is framed with two identical movements. “O Fortuna, Empress of the World,” is familiar at this point to almost everyone, as it occurs frequently in films, television commercials and countless other popular media.

Cincinnati Ballet dancers Cervilio Miguel Amador and Rodrigo Almarales face off in a studio rehearsal of this weekend’s Carmina Burana

Topics of the other songs include the fickleness of fortune and wealth (the first page of the collected songs was a drawing based on the turning wheel of Fortune), the ephemeral nature of life, joy at the return of Spring and, famously, the pleasures and perils of drinking, gambling and lust.

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In the rehearsal I am watching, Fonte and Wilt are professionally methodical. At this point, the dancers have been taught all the steps. Wilt has a yellow legal pad, on which she has written what seems like dozens of notes for them, which she scratches through after they have been taken care of. Sometimes a small conversation with the dancers addresses an issue like how to make the choreography work logistically, as well as emotionally. An ensuing run-through of the entire ballet (I saw about half of this process) is once again stopped repeatedly by Fonte, each time he sees something he needs polishing.

There’s no question the dancers are earning their pay. It is late in the afternoon, and they must be tired by now, but they gamely give their all to make Fonte happy.

Repeatedly, he emphasizes that the movements are timed exactly to the music (“we have to wait for the second ‘bam’. No matter what!”). He jokes that what is supposed to look “wild and crazy” seems a bit “out of control. I’m wondering if it could be . . .” he suggests, as the dancers get ready to do it all again, better. During one suspended moment he says “here you are hovering like you are gonna fall over.” During another step he wants performed in close proximity, “it’s like you feel his breath on the back of your neck. A little odd, but you get used to it.”

Wilt reminds the dancers that “you have to fill it [the movement] out. Make is bigger.” She demonstrates a pivot and a throwing arm movement that let’s you know why she has her job!

And I am reminded once again how much time and attention to every detail goes into each main stage ballet performance from Cincinnati Ballet.

I can’t wait to see it all come together on stage!

Carmina hoistingChristian

New dancer Christian Griggs-Drane is hoisted by men of the company 

“I COULDN’T FLY WHEN. . .” CHOREOGRAPHER’S NINTH WORK FOR CINCINNATI BALLET’S KAPLAN NEW WORKS SERIES

September 13, 2017

“I Couldn’t Fly When . . .” , choreography by Heather Britt.

Pictured: Taylor Carrusco and Cincinnati Ballet dancers (seated from left: James Cunningham, Melissa Gelfin, Christina LaForgia Morse, Chisako Oga and Marcus Romeo)

Last Wednesday, September 7, I watched Heather Britt coach a first run-through-in-costume of her newest work, “I Couldn’t Fly When . . .”, at the Cincinnati Ballet Center. Full disclosure: I’ve seen Heather dance, choreograph and teach (I’ve been in her DanceFix class for years). She’s absolutely one of my favorite people!

Britt’s choreography is often intense, asking dancers for both emotionally and physically demanding modern moves. What I saw in “I Couldn’t Fly When . . .” was another intimate, authentic and emotionally honest work. And a bit knotty, too.

The phrase “I couldn’t fly when. . .”  is from from a lyric sung by jazz singer Nina Simone, and the piece examines how confining it is when others judge us, or we judge ourselves. A cast of seven illustrates the subject in three vignettes, to music by Simone, Olafur Arnaulds, and Creep (Radiohead remaster), along with periods of silence.

I talked about the work’s fascinating genesis with Britt after rehearsal, in the Center’s airy Jarson-Kaplan Studio foyer. She introduces me to Joakim Stephenson, who’s tall with a broad smile (with red bandana, below, next to Britt, who is to his right in the snap). He’s been guesting as Ballet Master for the company and worked as a coach during the rehearsal process.

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Below is a an edited transcript of our conversation. I was eager to hear what led her to the collaboration with her dancers (which she prefers when she creates) that produced “I Didn’t Fly When . . . .” I’ve got more to publish, but I don’t want to issue a spoiler alert, so this will have to do until after I see the opening night performance. Can’t wait!

Heather, thanks for letting me watch. The dancers are fabulous; you’ve got a really good cast. 

They are all great. Wonderful. I didn’t know much about Marcus. He’s brand new. I hadn’t worked with Melissa before. Chisako, I worked with her last year for the first time, and Taylor, last year . . . You know, I’m getting to know everybody a bit better. I’m having a blast. I love that.

This is my ninth New Works. I can’t even believe that. One of those nine years was a premiere I did the Director’s Choice series. So though this is the ninth year for me, eight of those featured one of my works that was a world premiere for this particular show.

Give me the spiel about this newest!

I was first thinking about this piece, the first thing that came to mind when I wanted to think about something to address was identity. So that was my first, early thought in the process. With everything going on in the world, I wanted to start talking about how we identify inside and outside, and how we identify others based you know, their looks or background, or what we know about them, externally.

It started with a nugget of an idea from that. And then I started to listen to music.

And I came upon Nina Simone’s “Blackbird,” and I knew I really loved that song in general, and the lyrics are basically “why do you want to fly/you know you’re never gonna fly,” so thought about that a lot and then the history of Nina Simone around that song.

And started to think about – I was thinking about identity and I was talking to my friend Stacy Sims, and I thought how can I – I need some kind of through-line. I wonder how I can pull something out of the dancers? Stacy recommended that we do a writing prompt. So, for the writing prompt we used a lyric from Simone’s song, and it was “I couldn’t fly when . . . .”

So the dancers and I wrote for about five minutes, free writing, whatever came to mind from that phrase . . . and then we read back what we wrote.

Then, basically, we each pulled out phrases or words, or things that others said that kind of stuck with us. We kept notes of those. That’s how I figured out the through-line of the piece. Each section of the piece for me represents something that was discovered through those writings.

So that’s what the piece is basically about, times you couldn’t fly, whether caused by someone else, external forces, or whether it was your own internal judge that was causing you to not be able to live to your full potential.

Heather Britt, a Cincinnati-based choreographer and founder of the wildly popular DANCEFIX classes, presents her ninth World Premiere for Cincinnati Ballet. Most recently, she wowed audiences with the World Premiere of “Karass” in the 2016-2017 New Works. In 2015-2016’s Director’s Choice, Britt presented the sensual duet entitled “Habitual” to rave reviews. According to the Cincinnati Enquirer, “Britt and her dancers infuse the work with a level of intimacy we rarely see onstage.”

Britt graduated from the School for Creative and Performing Arts before going on to enjoy a modern dance career in California. Upon returning to Cincinnati, Britt founded HBDC (Heather Britt Dance collective) which encompasses DANCEFIX.  As a choreographer, her work has been featured several times in The Kaplan New Works Series, as well as with Cincinnati Ballet’s Second Company, Northern Kentucky University, ArtsWave, Playhouse in the Park, The Constella Festival, Contemporary Arts Center, Cincinnati Art Museum, and Concert:Nova.

 

 

 

DIANA L. FORD TO PRODUCE AND DIRECT CONTEMPORARY DANCE THEATER’S P.T.A. SHOW THIS WEEKEND

October 31, 2016

Contemporary Dance Theater’s first Performance & Time Arts show of the 2016-2017 season will take place on Friday & Saturday, November 4 & 5, at 8:00pm at the College Hill Town Hall, 1805 Larch Ave (45224). This PTA show will be produced and directed by Diana L. Ford, and will include a diverse blend of dance, music, spoken word, theater, and multimedia by local performers and artists.

Artists featured in this show will be:
–Diana L. Ford, DLF Productions & Company, Producer & Director/Choreographer & Dancer
–Amelia Heintzelman – Choreographer & Dancer
–Mandie Reiber – Choreographer & Dancer
–Denise Miller & Quiterie Gianina-Gabrielle, Women and Dance in Dayton – Choreography & Dance
–Robin Alicia-Clare Hoskins – Model, Actress, Singer & Songwriter
–N.R.G. da Nu Ra Goddezz (Amber Nicolle) – Spoken Word Artist

Tickets can be purchased in advance through Thursday, Nov 3rd, at a discounted price of $12 general admission and $10 seniors & students. At the door tickets will be $15 general admission and $12 students & seniors. Advance tickets can be purchased from Contemporary Dance Theater’s website, at the desk during class times or over the phone at (513) 591-1222.
http://cdt-dance.org/pta-nov2016/

THE DEAD DANCE AGAIN

October 27, 2016

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“Dead Can Dance” is re-animated every year by Exhale Dance Tribe, one of my all-time fav companies. Here’s what the Aronoff Center (where Exhale Dance Tribe is a resident company) has to say about Saturday’s performances:

“Exhale Dance Tribe resurrects its popular Halloween-themed show this season as founding artistic directors Missy Lay Zimmer and Andrew Hubbard deliver eclectic, brand new choreography, melding elements of contemporary dance with their own idiosyncratic style. In collaboration with Physical Productions, this season’s reincarnation of Dead Can Dance will include aerial silks artist Holly Price alongside Exhale’s all-female tribe of dancers.

Expect some thrilling dancing and goolish works — and feel free to come in costume!”

Shows are at 3 p.m. and 7:30 p.m. this Saturday, October 29, 2016 at The Aronoff Center for the Arts (located in downtown Cincinnati). Get tickets, which cost $32.25 by calling 513-621-2787.

 

 

 

 

 

 

 

CINCINNATI BALLET’S NEWEST: A ROMANTIC MIX-UP

October 21, 2016
coppelia-photo-by-aaron-m-conway

PHOTO BY AARON M. CONWAY

CINCINNATI BALLET’S newest entry into the 2016-17 20th Anniversary season for Artistic Director & CEO Victoria Morgan is a great expression of why I love ballet. In this manifestation (originally choreographed by Arthur St. Leon in Paris in 1870), toymaker Coppelius makes a doll (Coppelia) so beautiful and vivacious that a young villager falls for her. Oops, Franz has already got a girlfriend. Complications ensue.

The dancing in this work, polished to perfection by esteemed former Cincinnati Ballet resident choreographer Kirk Peterson, promises to bring a great live score (score by Leo Delibes conducted by Music Director Carmon DeLeone) that will resonate in every ballet lover’s heart. There is great dancing, from a variety of characters, that is challenging for the dancers. And, the plot, a romantic comedy, really, radiates with humor, good feeling and homespun morality.

Today at 8 pm; tomorrow at 2 and 8 pm. Procter & Gamble Hall, Aronoff Center for the Arts. 513-621-5282 or cballet.org.

A CHAT WITH CINCINNATI BALLET ARTISTIC DIRECTOR & CEO VICTORIA MORGAN

September 14, 2016

Monday morning was beautiful, cloudless and sunny, and I was off early from my home in OTR to the nearby Cincinnati Ballet Center on Central Parkway to say hi to Cincinnati Ballet Artistic Director Victoria Morgan. Her celebratory 20th season opens Friday with a mixed rep performance called Director’s Cut. It features seven works: “all-time favorite pieces, world renowned choreographers and two world premieres.”

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ABOVE: Cincinnati Ballet’s Victoria Morgan

As a young Cincinnati Ballet dancer with the “original” precursor company fifty years ago, I take a special interest in following the ongoing saga of this mid-size ballet company based in my home town.

Morgan’s accomplishments are many, not least among them staying in Cincinnati for twenty years. Adding the title of CEO to her resume, she’s achieved budgetary stability for Cincinnati Ballet, which is key. She’s become a champion for women choreographers. Her dancers come from all around the world. She continues to choreograph her own work. And over the years, her taste, leavened by the enthusiasms of her audience, has coalesced. She cherishes the classic, but obviously loves contemporary styles. A lot!

When I arrive, I get on the tiny elevator and ascend to the conference room. Looking happy and excited at the top of production week, Victoria joins me, and we chat for about fifteen minutes.

I love the new shot of you in a designer jacket and tutu (the photo has been widely distributed, CF #ballerinaboss). You are labeled a”Ballerina Boss,” who is “redefining first position.” 

Morgan (laughs): I got all these emails and phone calls about “Ballerina Boss.” I think it somehow got out there and people on the East and West coast are going – oh, wow, really cool!

You know, I’ve known you through the years, and I always think one of your defining characteristics is your sense of humor. You’ve got a great, enthusiastic laugh.

Morgan: Personally, I love to laugh. I am the biggest sucker for a good joke, a stupid joke. But I feel like I am way too serious in my real life. That’s how it feels to me. But thank you for saying that!

Putting together my new Patriotic Pas (a world-premiere duet set to Morton Gould’s rousing American Salute) . . . it’s 90 percent funny goofing around things that happened in the studio.

Last week, I watched a rehearsal with Melissa Gelfin and Rodrigo Almarales. Patriotic reminds me of George Balanchine’s famous Stars and Stripes. It’s got precision and dash. It has tricky combos. It’s speedy. It’s flirtatious. It’s all-American. And it’s also got joie de vivre.  

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Morgan: Patriotic Pas is very Balanchinian. I mean, it is my background. It’s tricky. It’s really hard.

Yes, you packed it in there!

Morgan: I know. It is just packed. I really wanted something . . . because, the rest of the program, is, you know, contemporary and thoughtful.

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ABOVE: Zack Grubbs and Sarah Hairston rehearsing Raymonda, which will be their final onstage appearance before retiring.

And Raymonda and Black Swan (also on the bill) have that classical thing, but not that pyrotechnic fireworks kind of stuff. And I felt that we just really needed that. It’s short. Kind of knock-your-socks-off.

And there is baton work?

Morgan: Yes, Melissa does a fantastic job of it. I can’t believe she’s that good at it, actually. She’s like throwing it up, switching hands, catching it – then it’s like under the leg and around. She’s awesome.

We also have Justin Peck’s Capricious Maneuvers, to Lukas Foss’ Capriccio. Another really tough piece. It’s fast-paced. Fast moving. Sort of like Balanchine. People call Peck’s work contemporary. They can think it’s contemporary because of the speed and the quick changes, and the look and the pace of it. But it requires top technique to execute.

Today Peck is a major, major choreographer and my personal hero, one of my top ever in my life so far.

I’m also crazy about Ma Cong’s world premiere. You saw his work last year?

Yes, in New Works last year. 

Morgan: It’s so fluid. I feel like when I’m watching him, I don’t even know where his bones are. And he gets that out of our dancers.

I watched a rehearsal on the dancers last week, too. His moves make a language for me, and then the choreography opens up. I like it a lot. 

Morgan: I love following the lines of movement, and trying to catch it and then you feel so clever. And it’s not an intellectual exercise, although that part of fascinating and requires some concentration. It’s just so organically fulfilling. It ties together in ways that connect limbs and necks and shoulders and legs and torsos in unusual ways.

It’s not like ‘this is so awkward,’  but it’s like “oh my god, it’s so new and original and satisfying. And it feels inevitable. Yet how can it feel inevitable when it’s so inventive?

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ABOVE: Associate Artistic Director Johanna Bernstein Wilt coaches James Gilmer in the Cincinnati Ballet studio

How do you manage your personal time with the demands of your job, Victoria? I’ve heard you watch every single MainStage performance. 

Morgan: Yes. I watch. Every single one. I mean, there’s some Nutcrackers I miss sometimes, because I feel it’s also my job to be out in the community. That’s a big party time. So, I might miss a Nut or two But I see every single show.

I kind of made a deal with my hubby that I try not be out more than three nights a week. But it’s a little bit schizophrenic. When I am out in the community, I am hoping to make links and connections and tell more people about what we are doing with the company. I’m really proud of what we are doing.

And, my favorite thing is planning seasons and being creative. Linking it to our community, finding new collaborations. I’m lucky to do something I love to do.

To relax, I read. I started meditating. I listen to meditation music. And I try to work out. I’ve made an effort, using my great fits of discipline to get myself to actually work out! I have to be physically ready to lead a company, especially a dance company.

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GROUNDBREAKING PARTNERSHIP REVISITED BY BILL T. JONES/ARNIE ZANE DANCE COMPANY

January 24, 2016

GROUNDBREAKING PARTNERSHIP

The celebrated Bill T. Jones/Arnie Zane Dance Company revisits seminal works

– by Kathy Valin, reprinted from Cincinnati CityBeat 1/20/16

Eight members of the Bill T. Jones/Arnie Zane Company appear this weekend in Body Against Body at The Aronoff Center. The company was founded in 1982 by Jones and his partner Zane, who died in 1988. Cincinnati audiences will see three illuminating pieces that return to company roots: Duet X 2 and Shared Distance, both small, intimate works from 1982 performed in silence; and Continuous Replay, an early solo concept from Zane most recently revised as a full company piece in 1994, set to “Music for Octet” composed and assembled by Jerome Begin after Beethoven string quartets.

Jones soldiered on after Zane’s death. Today their company is one of the most acclaimed in the dance-theater world – it has performed in some 200 cities in 40 countries on every continent. His major honors include a MacArthur (“Genius”) Award, the Kennedy Center Honors and two Tony Awards for Best Choreography.

Jones was born in Florida to itinerant farm workers, and raised in New York State. Though he starred as a high school track athlete, he soon discovered dance. He met Zane in college. The two young men made an unlikely pair.

Born in the Bronx, Zane was small, lithe and Italian-Jewish, with an interest in photography and martial arts. Jones was tall, black and powerfully built, adept at movement but also fluent in the conceptual and choreographic realms. Their early duets exploited their physical differences.

“They were also inspired by avant-gardism,” says associate artistic director Janet Wong. “They thought they were being ‘bad asses’. They were doing very intimate work. Subject matter tended to civil rights, identity politics, and counterculture movements. The two were also pioneers in the use of contact improvisation, a weight sharing technique, to generate movement.”

Reviving these early pieces in programs the company calls Body Against Body, she says, is a way that audiences and current company members can meet and know Zane. And though the works take on new life through the diverse dancers in the company today, they remain conceptually and physically rigorous, and some of the most significant examples of the postmodern aesthetic, which counts everyday movement as a valid art form.

Jenna Reigel and Talli Jackson recently talked with me about their roles in the Cincinnati production. Reigel dances two roles originated by Zane. Jackson performs in all three works, twice in roles originated by Jones.

Both appear in “Shared Distance,” a duet originally danced by Jones and Zane.
After Zane’s death, a petite firecracker of a woman named Julie West took on his role, according to Reigel, who dances that role this weekend. “In the spirit and nature of the duets Bill and Arnie were making, there was task-based material, but the dance was also an exploration of the dynamic of their personalities,” she says. “Bill talked a lot with me about this. For me, it was about being smaller but spunkier, with attitude. Sort of like ‘Anything you can do, I can. If you’re gonna lift me, I’m gonna lift you.’”

Jackson, who at 6’ 2” is a full foot taller than Reigel, says there is a wonderful spectrum between athletic moves in the piece and movements of real subtlety and tenderness, all held together within a very clean formal structure and a beautiful, spare post-modern sensibility.

They each find the absence of music to be liberating. “Rhythm and musicality and dynamics are recalled and understood or found between the two dancers each time it is performed,” says Reigel. “There is freedom on any given night how long the piece might be.”

Jackson thinks music has a tremendously powerful presence in space. “With silence, there can be a vast emptiness somewhat parallel to a blank page,” he says. “It can be scary. But, at the same time, it’s easier to focus on internal rhythms and musicality. It allows us to sing our own songs with our own bodies, to listen to our partner. It starts to be about ‘what rhythm are we going to play tonight,’ and a subtle difference in my partner can add spice or sensual sparkle.”

Continuous Replay, the evening closer, has been called a locomotive of a piece. “It’s based on an accumulation of forty-five phrases by Arnie,” says Wong, “choreographed in the gym where they rehearsed. Arnie was a karate master, attuned to sharp, precise motions. He eventually made that dance into a solo.”

After Zane’s death, with a performance date set but with no company piece because of a family emergency for a dancer, Jones made the solo into a full company piece. The lead role is called “the clock.” It’s the dancer who leads the accumulation of phrases.

“As more and more dancers enter the stage, they put on more and more of their costumes as the phrases accumulate,” says Wong. “We’d always only had a feisty, precise male dancer to Arnie’s part as ‘clock,’ but about five years ago we thought Jenna would be good. She has that kind of mind.”

“Bill and Arnie had an interest in film and this idea of 24 frames per second. So they often choreographed with still shapes making a series – having movements arise from transitioning from one shape to another,” says Reigel. “And, as “clock,” basically, I set the pace for everything that happens around the phrase collection. I’m very honored to be the first female to dance the role.”

Wong says she and Jones are proud of the early works the company performs today. “I think the ones we revive have survived the test of time,” she says. “I think they have a formal, honest athleticism, and for me they still stand up well.”

She says every time there’s a revival, Bill makes some changes. “He’s grown. Things change.

“When we revive we also ask ‘how do we let go of gender?’ We freed it up because the dancers are making some sort of connection to reflect a sort of shorthand Bill and Arnie had. It’s not just formal structuralism we are repeating, it’s about their life, their connection.”

EVERETT COMPANY OPENS CONTEMPORARY DANCE THEATER’S 2015-16 SEASON

August 30, 2015

FreedomProject-2-2

Everett Company: Heart-Wrenching Stories, Powerful Movement, Redemptive Imagery

BY KATHY VALIN · AUGUST 19TH, 2015 · FALL ARTS PREVIEW 

reprinted from Cincinnati CityBeat  

Providence, R.I.-based Everett Company (formerly Everett Dance Theatre) wants to know how America has transformed the “land of the free” into a country with one of the highest incarceration rates in the world, and what that means for those trapped in the system.
This small, unique company brings its most recent work, The Freedom Project — a multi-media examination of the human tragedy of mass incarceration and the remarkable resilience of the human spirit — to the Aronoff Center Nov. 6 and 7. The performance opens Contemporary Dance Theater’s 2015-2016 season.The cast features dancer/performer Grace Bevilacqua, spoken-word poet Christopher Johnson, parkour expert James Monteiro, Hip Hop choreographer/dancer Sokeo Ros, creator/performer Ari Brisbon and Everett co-director and The Freedom Project director Aaron Jungels, a longtime choreographer and dancer. “Everett picks complicated subjects and then makes the most delightfully insightful work about it,” says CDT Artistic Director Jefferson James, who has invited the company to perform in Cincinnati multiple times over the years. “They’ve dealt with social issues by examining subjects like science, how the brain works, immigration, man’s amazing ability to imagine and explore and now with man’s inhumanity to man in The Freedom Project.” “I’ve always been interested in the variety that exists in contemporary dance — the pure movement work, the narrative dances, the totally abstract work and the dances that comment on the society, both good and bad, in which we live,” James continues. “A season with only one type of contemporary dance would be a mistake, I think.”
The subject is timely. In July, President Obama toured a federal prison and afterward spoke of the damage our criminal justice system has done to Americans — especially men of color — and consequently to their families and communities. “If you are a low-level drug dealer, or you violate your parole, you owe some debt to society,” Obama said at the NAACP’s 106th Annual National Convention.
“You have to be held accountable and make amends. But you don’t owe 20 years. You don’t owe a life sentence.”

When asked how the 80-minute collage of videotaped interviews, movement and music that Jungels directed came together, he explains that The Freedom Project was researched for two years. The narrative arc of the performance is derived from interviews from both experts on the process of the criminal justice system and from the diverse, low-income Providence neighborhood in which Everett is based, where life-long entanglements with the criminal justice system are endemic. Since 1990, the company has offered classes and programs for free to those who can’t afford to pay, and company members now include these former students, some of whom have toured with the company for more than 10 years. Many of their vivid stories and those of others who have worked with Everett through the years are threaded through The Freedom Project

James Monteiro shares the experience of growing up as a problem child without his father, who was incarcerated. But the story is about overcoming the odds, as his father eventually comes back into the community as a leader trying to help kids. As Monteiro talks, he makes his way around piles of cinder blocks that serve as a stage set, with parkour — the urban training movement based on military obstacle courses that takes strength and agility — echoing the obstacle course of his life. “I’m sure you have heard of the prison pipeline,” Jungels says. He talks about a 12-year-old who is already in trouble with the police. His mother is on drugs, his father is not around, he doesn’t have a family structure and he’s very poor. “All of these things come to bear on decisions he’s making,” Jungels says. “In our research on the subject, he’ll say, ‘I’m not a bad kid, it’s just the way my life is. I can’t see anything different.’ ”Jungels points out that many are disadvantaged from the beginning. “They are not given opportunities, [but] simply ushered down the path. It seems as a society we don’t want to pay money up front, but afterward we are happy to incarcerate. And until recently, it hasn’t been questioned.”
Christopher Johnson’s history (some of which is recounted during The Freedom Project) includes incarceration and harrowing tales of gangs and shootings in Newark, N.J. — aka Brick City — named after the style of building construction, but also for a violent culture known for large amounts of crack cocaine. Today, he is an internationally known poetry slam champion who teaches workshops to young people. When he first met Jungels, Johnson had been coming to perform his work at open mic nights at the Everett space in Providence for years. He’d taught a class for a youth prison on how to pass standardized testing using spoken-word poetry, and after showing Jungels his work, he was invited to contribute to The Freedom Project
“The way the performance is set up now, everything is woven together,” Johnson says. “It’s like if you are watching a movie and you’re trying to figure out five characters, when the only thing they have in common is that they visit the same café every morning.”In the final redemptive scene of the show, another actor reads one of Johnson’s poems. He remembers seeing it in rehearsal for the first time. “Usually I’m super-critical,” he says.But, this time, seeing it as an audience would, he was amazed by how well The Freedom Project had come together. “It was magical. This performance is a storybook. You are actually seeing a storybook. I’ve never done something so beautiful before.” ©