APAP (4 Stars!)
Association of Performing Arts Presenters (January 8-12, NYC)
http://www.apapconference.com/ / http://www.artspresenters.org/
THE JIST:
APAP is your yearly ticket to see nearly every decent performing arts organization in the country, all in the course of 4 days! Running from morning to near midnight in studios all across the Metropolis, APAP elicits nearly 1000 showcase performances, proving itself a heady, Performing Arts Paradise. AND, IT IS FREE! This truly makes it a must of a venture. Even when the air is frigidly cold and begging you to stay in, I compel you to put on your silk britches and get out! Serving as the premier conference where Presenters and Artists meet and greet, all in hopes of finding or becoming the next big thing, APAP is bursting with fantastic actors, musicians, singers, dancers and more, sure to tickle even the most peculiar of fancies!
THE AWARDS:
This year marks my First Annual Mdme. B. Dance Awards where I'll be dishing out rants and raves all around. To be frank, I only attended one night. That's right. Even though it was all weekend long, the fact is I ended up at APAP rather by accident this year, because it was just soooooooooo cold that weekend - I nearly forgot!
HOWEVER, do not let other Critic's convince you that full and complete attendance is so necessary to having a strong, well-researched opinion. And especially don't be convinced that they too attend every night, because as a matter of fact, they did not! Besides, I have great taste, and even better luck! This is more important than any other quality of a Critic! And, after looking at the program to see what I regretfully missed and to check to see if I should further venture the cold for the last few days, I realized that Fate had landed me upon the event at just the right moment & in just the right studio, nary a night too soon! The fact is, I have seen nearly every company I would be interested in reviewing, many of whom make it to NYC on a number of occasions when the weather is much nicer. Let me also say that while APAP has more than dance, I am a dancer "heart and soles", and as I stated in my little guidelines which I posted a few days ago, I am biased to see what I want.... not what I should! So, by attending City Center's Studio 4 on Saturday evening, I was able to see companies I had only heard of (and watched on You Tube), but never seen live! It should also be noted that Dance Magazine Editor in Chief was also in attendance that night, so I am justified in feeling that I was truly in the place to be! It was a wonderfully fated affair, if ever there were one!
Now, to the Awards. My disclaimer posted in my guidelines is in full effect. If you haven't read these guidelines, please scroll down a bit and read them! Also, it should be said that as a UNEMPLOYED Dancer (hinty-hint!), I always ask myself a few personal questions: 1) Would I want to be seen in this by my friends? 2.) Would I want to train like an animal and diet down to muscles alone in order to perform this? 3.) Does this work qualify for the Starving Artist Deferment of my Student Loan? 4.) Would I want to give up Unemployment Check for this? and 5.) Would I want to curb my opinions for a demanding, sexually charged Artistic Director in order to do his/her work? If many of the answers are yes, then the Stars get going! If the answers are No, then I look around at the other souls of the audience to see how captivated they are....are they texting away on their Silent Blackberries? Are they Asleep? Are they in full make-out session with a stranger? Are they still there at all? If any of these things are going on I think, well, hmmm..... I'm Right! But if others are by and large looking at the stage and seeming pleased, I say "OK, Maybe I'm just being a pissy artist, but it is obviously having its effect." and then I turn promptly back around to watch harder! Beyond this personal view of things, my other main consideration behind the Stars (& Awards) is pretty simple and begins with what I think is the most important question to ask: IS THIS MOVING or ENTERTAINING? If the Answer is YES = STARS. If the Answer is NO = NO STARS.
ONE MORE NOTE: Many of the other Critics use a bevy of additional logical considerations in their ratings, including: the historical validity and context of the work; the dramatic arch and its resonance; the intellectual foundations of the idea at large; the music; how many "thank you for coming gifts" they received; what they said last year; if they were mentioned in the Director's Introduction; and my personal favorite, how well it matches their PhD Thesis. While these considerations may lead to interesting intellectual fodder, and even nicer reviews, I am wholly uninterested. I don't like having to dig too deep to make sense of something...after all, by curtain fall I am wanting to go out for a drink and smoke to either praise or piss on the performance. By the time I am home I should either feel totally motivated to still try to work as a dancer, or fully OK with being a writer! I don't want to wait to have to read some intellectual dissertation in a paper or a magazine before I make up my mind or as to why I should like, appreciate or entertain the efforts with my time, energy or pocketbook!
OK. NOW. FINALLY. Let's go through the evening bit by bit, shall we?
NAI NI CHEN
Association of Performing Arts Presenters (January 8-12, NYC)
http://www.apapconference.com/ / http://www.artspresenters.org/
THE JIST:
APAP is your yearly ticket to see nearly every decent performing arts organization in the country, all in the course of 4 days! Running from morning to near midnight in studios all across the Metropolis, APAP elicits nearly 1000 showcase performances, proving itself a heady, Performing Arts Paradise. AND, IT IS FREE! This truly makes it a must of a venture. Even when the air is frigidly cold and begging you to stay in, I compel you to put on your silk britches and get out! Serving as the premier conference where Presenters and Artists meet and greet, all in hopes of finding or becoming the next big thing, APAP is bursting with fantastic actors, musicians, singers, dancers and more, sure to tickle even the most peculiar of fancies!
THE AWARDS:
This year marks my First Annual Mdme. B. Dance Awards where I'll be dishing out rants and raves all around. To be frank, I only attended one night. That's right. Even though it was all weekend long, the fact is I ended up at APAP rather by accident this year, because it was just soooooooooo cold that weekend - I nearly forgot!
HOWEVER, do not let other Critic's convince you that full and complete attendance is so necessary to having a strong, well-researched opinion. And especially don't be convinced that they too attend every night, because as a matter of fact, they did not! Besides, I have great taste, and even better luck! This is more important than any other quality of a Critic! And, after looking at the program to see what I regretfully missed and to check to see if I should further venture the cold for the last few days, I realized that Fate had landed me upon the event at just the right moment & in just the right studio, nary a night too soon! The fact is, I have seen nearly every company I would be interested in reviewing, many of whom make it to NYC on a number of occasions when the weather is much nicer. Let me also say that while APAP has more than dance, I am a dancer "heart and soles", and as I stated in my little guidelines which I posted a few days ago, I am biased to see what I want.... not what I should! So, by attending City Center's Studio 4 on Saturday evening, I was able to see companies I had only heard of (and watched on You Tube), but never seen live! It should also be noted that Dance Magazine Editor in Chief was also in attendance that night, so I am justified in feeling that I was truly in the place to be! It was a wonderfully fated affair, if ever there were one!
Now, to the Awards. My disclaimer posted in my guidelines is in full effect. If you haven't read these guidelines, please scroll down a bit and read them! Also, it should be said that as a UNEMPLOYED Dancer (hinty-hint!), I always ask myself a few personal questions: 1) Would I want to be seen in this by my friends? 2.) Would I want to train like an animal and diet down to muscles alone in order to perform this? 3.) Does this work qualify for the Starving Artist Deferment of my Student Loan? 4.) Would I want to give up Unemployment Check for this? and 5.) Would I want to curb my opinions for a demanding, sexually charged Artistic Director in order to do his/her work? If many of the answers are yes, then the Stars get going! If the answers are No, then I look around at the other souls of the audience to see how captivated they are....are they texting away on their Silent Blackberries? Are they Asleep? Are they in full make-out session with a stranger? Are they still there at all? If any of these things are going on I think, well, hmmm..... I'm Right! But if others are by and large looking at the stage and seeming pleased, I say "OK, Maybe I'm just being a pissy artist, but it is obviously having its effect." and then I turn promptly back around to watch harder! Beyond this personal view of things, my other main consideration behind the Stars (& Awards) is pretty simple and begins with what I think is the most important question to ask: IS THIS MOVING or ENTERTAINING? If the Answer is YES = STARS. If the Answer is NO = NO STARS.
ONE MORE NOTE: Many of the other Critics use a bevy of additional logical considerations in their ratings, including: the historical validity and context of the work; the dramatic arch and its resonance; the intellectual foundations of the idea at large; the music; how many "thank you for coming gifts" they received; what they said last year; if they were mentioned in the Director's Introduction; and my personal favorite, how well it matches their PhD Thesis. While these considerations may lead to interesting intellectual fodder, and even nicer reviews, I am wholly uninterested. I don't like having to dig too deep to make sense of something...after all, by curtain fall I am wanting to go out for a drink and smoke to either praise or piss on the performance. By the time I am home I should either feel totally motivated to still try to work as a dancer, or fully OK with being a writer! I don't want to wait to have to read some intellectual dissertation in a paper or a magazine before I make up my mind or as to why I should like, appreciate or entertain the efforts with my time, energy or pocketbook!
OK. NOW. FINALLY. Let's go through the evening bit by bit, shall we?
NAI NI CHEN
http://www.nainichen.org/
2.50 Stars
Mdme. B. Award: Sorry. None This Year.
Advice to Obey: Stop being Safe. Next year, forget Excerpts. Show us your most exciting idea!
Worth Presenting/ Funding Further?: Sure.
Fall For Dance Worthy? Not just yet.
At a Glance: Nai Ni Chen is an established Contemporary Company based here in NYC named after Director Nai Ni Chen. Nai Ni is a woman, and she is Asian. As such, her work has a decidedly downtown modern feel, but with strong costuming. She gets kudo's for that, because as a Dancer, the one thing I deplore in Modern Work is a lack of costuming which only serves to further frustrate the effort needed to cover, more oft than not, a lack of plot!
The Performance: Not stellar this time around, but not at all horrible either! I mean you can see all the usuals: contractions, yearning arms, a decided emphasis on lower than sky high legs & earnestness. The thing is though, after over a week passing, I can't really remember anything distinct beyond the sound of the fans, which means that if I had written earlier I might have easily been more descriptive, but isn't that actually misguiding for the readers? If only 2 weeks later, it's already foggy, that says something on its own. I think that in today's economy the work needs to linger a bit longer. Non?
"Way of Five - Fire" & "Love Song of Xishuanbanna" were the most impressive. The intention of the dancers was less self-conscious, with the sound of the fans helping even more to hit "Fire" home. Better, these seemed the most honest. It seems rather obvious that Nai Ni Chen is connected to her heritage and that is a very welcome part of her work. I can't tell you how wonderful Chinese Theater is --it is Majestic! But, you get more from reading the program notes and the costumes than from the actual dances. It seems that Nai Ni is a bit afraid of going full throttle down that path with her vocabulary, and so sticks to a safer, teetering fence of say, Modern-esqe Orientalism. And this is just another way to classify something that seeks to "please" rather than move, the audience. It's just too polite. Too Safe.
The Dancers were Serviceable. Pretty. Enough Technique. Nice Male Bodies. But their performance was, well, Safe. They seemed afraid of messing up which any performer is, but the audience should not see this. (and to Note, when the Choreography is more daring, messing up would mean not a single thing!)
What My Companion Said (a Diva/Opera Singer): "It was nice. I love Red, so that was good and I liked the Fans and the Drums"
To Be Fair: Well, this is APAP -- where companies come to get seen by Presenters and it's full of companies showing glimpses of their work, often trying to show some range so as to attract the most bookings. And some Artists fair better when you see an entire work. I have a feeling this might be the case here. Nai Ni Chen has been around the block. She has a developed tie to the Community at large, with educational programs and more, so she is by no means a beginner. She can obviously put on a good show. But seeing just a glimpse in such an intimate space, did not I'm afraid, bring me to begging for more.
__________________________________
SHELLEY OLIVER TAP DANCERS & THE DAVID LEONHARDT JAZZ GROUP
http://www.shelleyoliver.com/
2.50 Stars
Mdme. B. Award: Sorry. None This Year.
Advice to Obey: Stop being Safe. Next year, forget Excerpts. Show us your most exciting idea!
Worth Presenting/ Funding Further?: Sure.
Fall For Dance Worthy? Not just yet.
At a Glance: Nai Ni Chen is an established Contemporary Company based here in NYC named after Director Nai Ni Chen. Nai Ni is a woman, and she is Asian. As such, her work has a decidedly downtown modern feel, but with strong costuming. She gets kudo's for that, because as a Dancer, the one thing I deplore in Modern Work is a lack of costuming which only serves to further frustrate the effort needed to cover, more oft than not, a lack of plot!
The Performance: Not stellar this time around, but not at all horrible either! I mean you can see all the usuals: contractions, yearning arms, a decided emphasis on lower than sky high legs & earnestness. The thing is though, after over a week passing, I can't really remember anything distinct beyond the sound of the fans, which means that if I had written earlier I might have easily been more descriptive, but isn't that actually misguiding for the readers? If only 2 weeks later, it's already foggy, that says something on its own. I think that in today's economy the work needs to linger a bit longer. Non?
"Way of Five - Fire" & "Love Song of Xishuanbanna" were the most impressive. The intention of the dancers was less self-conscious, with the sound of the fans helping even more to hit "Fire" home. Better, these seemed the most honest. It seems rather obvious that Nai Ni Chen is connected to her heritage and that is a very welcome part of her work. I can't tell you how wonderful Chinese Theater is --it is Majestic! But, you get more from reading the program notes and the costumes than from the actual dances. It seems that Nai Ni is a bit afraid of going full throttle down that path with her vocabulary, and so sticks to a safer, teetering fence of say, Modern-esqe Orientalism. And this is just another way to classify something that seeks to "please" rather than move, the audience. It's just too polite. Too Safe.
The Dancers were Serviceable. Pretty. Enough Technique. Nice Male Bodies. But their performance was, well, Safe. They seemed afraid of messing up which any performer is, but the audience should not see this. (and to Note, when the Choreography is more daring, messing up would mean not a single thing!)
What My Companion Said (a Diva/Opera Singer): "It was nice. I love Red, so that was good and I liked the Fans and the Drums"
To Be Fair: Well, this is APAP -- where companies come to get seen by Presenters and it's full of companies showing glimpses of their work, often trying to show some range so as to attract the most bookings. And some Artists fair better when you see an entire work. I have a feeling this might be the case here. Nai Ni Chen has been around the block. She has a developed tie to the Community at large, with educational programs and more, so she is by no means a beginner. She can obviously put on a good show. But seeing just a glimpse in such an intimate space, did not I'm afraid, bring me to begging for more.
__________________________________
SHELLEY OLIVER TAP DANCERS & THE DAVID LEONHARDT JAZZ GROUP
http://www.shelleyoliver.com/
3 Stars
Mdme. B. Award: BEST TEAM EFFORT
Advice to Obey: Costumes & Characters, NOW! (Please.)
Worth Presenting/ Funding Further?: Yes, Indeed!
Fall For Dance Worthy? Needs some tweaking!
At A Glance: This is a real sweetheart of a Duo. Shelley gains tons of respect from me because she has succeeded in my own personal Goal of marrying a man who is not only supportive of my Dreams, but my Pas De Deux partner, as well! The fact that The Jazz Group decided to play an extra set last minute when another company couldn't make it in, shows you that there is a generosity of Spirit at play. Love that!
The Performance: This group began the Tap Segment, and this is what my Companion was really interested in seeing -- although I admit, I was at first wanting to go down to see Pascal Rioult in Studio 5. I am so glad we did not. Tap dance as a whole is just easy listening. It's cheerful, spirited and fun entertainment!
So here we've got 5 Ladies and 3 (4?) Gentlemen. Perfect Ingredients for any night on the town. In line with the Tradition of Tap the program began with the usual display of a seemingly improvised interaction between the dancers and the musicians (who, while not the focus of this review were great!). Well Enough. Beginning with Shelley herself, you can't but help be charmed by her slightly elfish, yet, technically sharp appeal. Then enter the other gals, covering really an entire spectrum of looks and styles, we begin to see that unlike most events dominated by ladies, these gals really seem to enjoy each other's company. The clever use of solo's & duos that are then fully integrated into the whole group makes the competitive, individual nature of the form enjoyable and upbeat! It was all rather easy on the eyes!
However, by the time we got to the finale, a well conceived, funny & wonderfully performed "Flintstones Piece", I was seeing red! Red Shirts, that is. I realized that while the sounds were perfectly clear, the rhythms engaging, the choreography and concept totally worthwhile, and of course the Ladies being lovely enough, there was something missing. And that something was: Costumes & Character.
You see Tap is, heart and soul, a highly individualized art form. It relies not only on skill -- but even more so on self-expression. But that doesn't mean that it's just as simple as putting your self out on a stage. Self Expression of Artistic worth is actually very difficult -- because any little bit of self-consciousness dulls the performance into a display of well, your self-consciousness -- which can not be hidden. The body and face never lies. Tap gets over a bit more easily because the sounds are fetching. But when you come to see it live, say versus hearing a recording, you need more than the Rhythm. You need a total embodiment of Character. With the exception of Rebekkah, every one of these ladies could have used a costume, which would have served to free them up a bit more. You need to Ham it up Ladies!
Honestly, I was sitting there thoroughly charmed but wanting so badly to style them! Consider this: Black suits, skinny ties and Groucho Marx painted mustaches. Then you can do your hair any which way you fancy and add an accessory of your choosing. (Glasses Hat Feather Flower) This would have made the entirety of the performance RIVETING, because as Artists you would have stopped being the Real You and become the Stage You. The Flintstones Piece would have been more than good -- it would have been off the chart! You may think this is too Gimmicky -- but it is not. I am actually well-versed on Tap -- even having hung out with Savion and his Crew more than a few times. The thing is, while Tappers seem terribly down to earth, pedestrian and 'real '-- it is actually all an artistic illusion. And this is why it is so successful. You watch them and think -- I could do that! Only to find, that well, No You Can't! When you think back to Peg Leg Bates, Ruby Keeler, the Nicholas Brothers, Leonard Reed, Gregory Hines, Fred Astaire, Hermes Pan, The Ebsens, Warren Berry, Jane Withers, Jimmy Slyde and yes, even Savion, well these people are not just being themselves! They inhabit more than just themselves -- they take themselves Somewhere Out There. Beneath The Clear Blue Sky. Even when wearing pedestrian clothes there was something very un-pedestrian about them, because well, they sold it!
This Classic Jazz Tap Ensemble was delightful. Loved the music, loved the interaction. And, it's great to see more than just hoofing these days. But Ladies, please ask yourselves, is wearing pedestrian garb really fitting you? Let the Boys in the Band be themselves. But for the Ladies, well, try out my idea and just see what happens.
__________________________________
THE CHICAGO TAP THEATRE
http://www.chicagotaptheatre.com/
Mdme. B. Award: BEST TEAM EFFORT
Advice to Obey: Costumes & Characters, NOW! (Please.)
Worth Presenting/ Funding Further?: Yes, Indeed!
Fall For Dance Worthy? Needs some tweaking!
At A Glance: This is a real sweetheart of a Duo. Shelley gains tons of respect from me because she has succeeded in my own personal Goal of marrying a man who is not only supportive of my Dreams, but my Pas De Deux partner, as well! The fact that The Jazz Group decided to play an extra set last minute when another company couldn't make it in, shows you that there is a generosity of Spirit at play. Love that!
The Performance: This group began the Tap Segment, and this is what my Companion was really interested in seeing -- although I admit, I was at first wanting to go down to see Pascal Rioult in Studio 5. I am so glad we did not. Tap dance as a whole is just easy listening. It's cheerful, spirited and fun entertainment!
So here we've got 5 Ladies and 3 (4?) Gentlemen. Perfect Ingredients for any night on the town. In line with the Tradition of Tap the program began with the usual display of a seemingly improvised interaction between the dancers and the musicians (who, while not the focus of this review were great!). Well Enough. Beginning with Shelley herself, you can't but help be charmed by her slightly elfish, yet, technically sharp appeal. Then enter the other gals, covering really an entire spectrum of looks and styles, we begin to see that unlike most events dominated by ladies, these gals really seem to enjoy each other's company. The clever use of solo's & duos that are then fully integrated into the whole group makes the competitive, individual nature of the form enjoyable and upbeat! It was all rather easy on the eyes!
However, by the time we got to the finale, a well conceived, funny & wonderfully performed "Flintstones Piece", I was seeing red! Red Shirts, that is. I realized that while the sounds were perfectly clear, the rhythms engaging, the choreography and concept totally worthwhile, and of course the Ladies being lovely enough, there was something missing. And that something was: Costumes & Character.
You see Tap is, heart and soul, a highly individualized art form. It relies not only on skill -- but even more so on self-expression. But that doesn't mean that it's just as simple as putting your self out on a stage. Self Expression of Artistic worth is actually very difficult -- because any little bit of self-consciousness dulls the performance into a display of well, your self-consciousness -- which can not be hidden. The body and face never lies. Tap gets over a bit more easily because the sounds are fetching. But when you come to see it live, say versus hearing a recording, you need more than the Rhythm. You need a total embodiment of Character. With the exception of Rebekkah, every one of these ladies could have used a costume, which would have served to free them up a bit more. You need to Ham it up Ladies!
Honestly, I was sitting there thoroughly charmed but wanting so badly to style them! Consider this: Black suits, skinny ties and Groucho Marx painted mustaches. Then you can do your hair any which way you fancy and add an accessory of your choosing. (Glasses Hat Feather Flower) This would have made the entirety of the performance RIVETING, because as Artists you would have stopped being the Real You and become the Stage You. The Flintstones Piece would have been more than good -- it would have been off the chart! You may think this is too Gimmicky -- but it is not. I am actually well-versed on Tap -- even having hung out with Savion and his Crew more than a few times. The thing is, while Tappers seem terribly down to earth, pedestrian and 'real '-- it is actually all an artistic illusion. And this is why it is so successful. You watch them and think -- I could do that! Only to find, that well, No You Can't! When you think back to Peg Leg Bates, Ruby Keeler, the Nicholas Brothers, Leonard Reed, Gregory Hines, Fred Astaire, Hermes Pan, The Ebsens, Warren Berry, Jane Withers, Jimmy Slyde and yes, even Savion, well these people are not just being themselves! They inhabit more than just themselves -- they take themselves Somewhere Out There. Beneath The Clear Blue Sky. Even when wearing pedestrian clothes there was something very un-pedestrian about them, because well, they sold it!
This Classic Jazz Tap Ensemble was delightful. Loved the music, loved the interaction. And, it's great to see more than just hoofing these days. But Ladies, please ask yourselves, is wearing pedestrian garb really fitting you? Let the Boys in the Band be themselves. But for the Ladies, well, try out my idea and just see what happens.
__________________________________
THE CHICAGO TAP THEATRE
http://www.chicagotaptheatre.com/
3.75 Stars
Mdme. B. Award(s): BEST CREATIVE DIRECTION FOR A TAP ENSEMBLE
Advice to Obey: When only showing 2 pieces, finish with your own Choreography!
Marketing Advice to Consider: Red Glossy Folders for your press pack instead of White. Everything else, the same.
Worth Presenting/ Funding Further?: Absolutely!
Fall For Dance Worthy? Yes for 2010!
At a Glance: Directed by a Very Charming Gentleman, Mark Yonnally, this Troupe serves a wonderful example of good solid story telling. Mark has a varied background, dancing for Bill Evans and E.T.C. before starting his current endeavor. And this background has served him well, because he has integrated it so cleverly into a product that is rather unique when it comes to Tap Ensembles.
The Performance: Right away I was swept in. Beginning with "Bad Businessman" I was not only impressed by the strong costuming but also that each and every one of the 11 dancers seemed to be thoroughly unique besides. This was a true theatrical piece, with a strong plot carried right on through! The use of Rhythm and Gesture along with clever staging was perfect for the work. I'd love to see this troupe on a big stage - here -- in NYC. To add, I couldn't take my eyes off of the Dietrich Rendition of Jennifer Pfaff. She was just great! A strong presence and spot-on facial expression told me that she was thoroughly wrapped into character. Then as the work went further, Stacy Milam's diminutive spark started pulling me in. She's funny! Really, everyone was great and this is most likely because when the Choreography is great and the concept strong and well, all you really need is talent and good direction. Obviously, there is talent in this group. You really can't fake that with Tap. and Mark? Well if you go to his website here and look at the Repertoire list, you can see that he is no beginner as a Director -- plus he is a great performer to boot. He practices his Craft. YAY!
The second piece on the show was a staging of a Brenda Buffalino work titled :"Flying Turtles". It was charming enough and was especially fitting for dancer Phil Brooks who seemed quite comfortable floating about on a Breeze.... but well, I still loved Bad Businessman more and really feel that this piece should have begun, not ended this short program. After I found out that it was a re-staging of a much earlier work by Brenda, it helped me understand. It was a lovely and relaxing piece, and it does have historical relevance as Brenda was a sort of Ground Breaker with her Modern twist to tap, and it did balance out the program with its sort of float like a butterfly quality. But I still left wanting to see more of Mark's work. And so did my Opera Diva Friend.
_________________________________
PARALLEL EXIT
Mdme. B. Award(s): BEST CREATIVE DIRECTION FOR A TAP ENSEMBLE
Advice to Obey: When only showing 2 pieces, finish with your own Choreography!
Marketing Advice to Consider: Red Glossy Folders for your press pack instead of White. Everything else, the same.
Worth Presenting/ Funding Further?: Absolutely!
Fall For Dance Worthy? Yes for 2010!
At a Glance: Directed by a Very Charming Gentleman, Mark Yonnally, this Troupe serves a wonderful example of good solid story telling. Mark has a varied background, dancing for Bill Evans and E.T.C. before starting his current endeavor. And this background has served him well, because he has integrated it so cleverly into a product that is rather unique when it comes to Tap Ensembles.
The Performance: Right away I was swept in. Beginning with "Bad Businessman" I was not only impressed by the strong costuming but also that each and every one of the 11 dancers seemed to be thoroughly unique besides. This was a true theatrical piece, with a strong plot carried right on through! The use of Rhythm and Gesture along with clever staging was perfect for the work. I'd love to see this troupe on a big stage - here -- in NYC. To add, I couldn't take my eyes off of the Dietrich Rendition of Jennifer Pfaff. She was just great! A strong presence and spot-on facial expression told me that she was thoroughly wrapped into character. Then as the work went further, Stacy Milam's diminutive spark started pulling me in. She's funny! Really, everyone was great and this is most likely because when the Choreography is great and the concept strong and well, all you really need is talent and good direction. Obviously, there is talent in this group. You really can't fake that with Tap. and Mark? Well if you go to his website here and look at the Repertoire list, you can see that he is no beginner as a Director -- plus he is a great performer to boot. He practices his Craft. YAY!
The second piece on the show was a staging of a Brenda Buffalino work titled :"Flying Turtles". It was charming enough and was especially fitting for dancer Phil Brooks who seemed quite comfortable floating about on a Breeze.... but well, I still loved Bad Businessman more and really feel that this piece should have begun, not ended this short program. After I found out that it was a re-staging of a much earlier work by Brenda, it helped me understand. It was a lovely and relaxing piece, and it does have historical relevance as Brenda was a sort of Ground Breaker with her Modern twist to tap, and it did balance out the program with its sort of float like a butterfly quality. But I still left wanting to see more of Mark's work. And so did my Opera Diva Friend.
_________________________________
PARALLEL EXIT
http://www.parallelexit.com/
3.25 Stars
Mdme. B. Award(s): BEST LIGHTING CONCEPT
Worth Presenting/ Funding Further?: That's a Yes!
Fall For Dance Worthy? Yes, with Chicago Tap, Above!
At A Glance: A Classic 3 Man Comedy Schtick!
The Performance: First thing that comes to mind? COOL! These gents were really Cool. You can't imagine how a simple concept can be so effective. Showing an excerpt of a piece titled "Time Step", the use of self-timed lighting boxes was the leading element in the piece and these clever devices left us all spell-bound to their comic inter-personal antics. It really is amazing at how simple great entertainment can be. Completing out the Tap Segment of the evening these guys served as a perfect end-note and my further research informs me that they are in fact, not just dancers, but actually performance theatre artists who integrate theatre, dance and music into their work. Describing themselves as lads who "create moments of simple magic for the audiences of all ages", I found them completely worth braving the Cold. Yet, considering that I harbor a love of magic and clowning and physical theatre as a genre, I felt that this work left me wanting a bit more -- I wanted to see the entirety of the work. It would have also been great to see the entire company on stage... but, for this night we only saw 3. Oh well, it was a fine 3 Indeed.
What the Opera Singer Said: "That Was Really Cool!"
____________________________________
GIORDANO DANCE
3.25 Stars
Mdme. B. Award(s): BEST LIGHTING CONCEPT
Worth Presenting/ Funding Further?: That's a Yes!
Fall For Dance Worthy? Yes, with Chicago Tap, Above!
At A Glance: A Classic 3 Man Comedy Schtick!
The Performance: First thing that comes to mind? COOL! These gents were really Cool. You can't imagine how a simple concept can be so effective. Showing an excerpt of a piece titled "Time Step", the use of self-timed lighting boxes was the leading element in the piece and these clever devices left us all spell-bound to their comic inter-personal antics. It really is amazing at how simple great entertainment can be. Completing out the Tap Segment of the evening these guys served as a perfect end-note and my further research informs me that they are in fact, not just dancers, but actually performance theatre artists who integrate theatre, dance and music into their work. Describing themselves as lads who "create moments of simple magic for the audiences of all ages", I found them completely worth braving the Cold. Yet, considering that I harbor a love of magic and clowning and physical theatre as a genre, I felt that this work left me wanting a bit more -- I wanted to see the entirety of the work. It would have also been great to see the entire company on stage... but, for this night we only saw 3. Oh well, it was a fine 3 Indeed.
What the Opera Singer Said: "That Was Really Cool!"
____________________________________
GIORDANO DANCE
http://www.giordanodance.org/
2.75 Stars
Mdme. B. Award(s): BEST CUE
Advice to Obey: See Below.
Worth Presenting/ Funding Further?: Yes. It's a Great Cause that deserves to survive.
Fall For Dance Worthy? Not for 2010. Nope.
At a Glance: This is a first-rate, American Dance Company. Going back all the way to the 60's, Gus Giordano was known for creating purely American, compelling Jazz works! He literally "wrote the book" on Jazz Dance as a unique American Form, which I think you should purchase and read right now! This is our Cultural History! It's a company that a lot of dancers want to work for, and admire, because they have always been high in both technique, sexiness and style! Besides that, there is a real history at this organization. An important one to preserve!
The Performance: While I may be the only Critic to say this: I was utterly disappointed. I really found Nan's opening cuing to be more interesting than almost everything up until the Rennie Harris piece...and while that was the best piece of the program, it still wasn't 'WOW'! The dancer's seemed stressed. They smiled mind you, and are beautifully talented and capable, but their heart seemed somewhere else. It was patently not a sexy showing. Nan seemed friendly and chatty enough, but removed.
Honestly, I think there is some questioning that needs to be done of this organization's Artistic Vision. They've changed the name, barely a year after Gus' passing, to reflect what they say is a pure focus on Jazz. I say, HUH? Was this not always the case?!! Gus' name has always associated with popular, innovative, Sexy, JAZZ! There is no need to re-iterate that. What does it serve to take the very man who conceptualized and built this company as a JAZZ COMPANY out of the name?! I mean, He was a Marine! It's suspicious.
Second, and even worse, none of the choreography was his, or anything like his. Most of the movement was Modern in feel, vocabulary and partnering. This was not sizzling. It was not smoldering. It certainly didn't feel like Jazz.
I can't remember much of anything before "Gravity".... and only remember this because it is named after the extraordinarily beautiful song of the same name, by Sarah Bereilles. This is a FANTASTIC SONG... but the movement and relationship on stage did not at all compete or further enlighten. It was distracting. You shouldn't use such a popular music choice unless you are some genius choreographer. Or unless you are in a workshop. Or class. REALLY! Duh. My Opera Friend was most annoyed.
It was also told us that some dancer of theirs received a notation as "One of 25 to Watch" by Dance Magazine. However, the only dancer I was watching at all was the African American Female dancer (whose name I don't know bc there is no pictures of the dancers!!!!!!!!!!!Unless, you register?????!!!!!!!) She has Technique, Sass, Energy and Style! She looked absolutely joyful up there! And she came out way too late! She should be featured through and through. The others? Good enough to be paid, for sure. The men are really top notch -- and the women are in great shape and have strong enough technique...but I didn't find so much personal flavor that I would expect from a Jazz Troupe - especially Gus' Jazz Troupe! It just was not moving until we got to Rennie's piece. He rarely misses and choosing such great music and setting up a fabulous little scene, this was a piece where they get to get down. Boogie Down! But it still wasn't a total superb performance...had this same material been set on Camille Brown's company, well, now that might have soared!
What My Opera Diva Friend Said: "They ruined a great song. I just don't like Modern Dance. Sorry." After telling her it was Jazz, she looked at me and replied "Not Really."
Ouch. Better luck Next Year.
ADVICE TO OBEY: Consider your Brand & Focus on JAZZ & FEELING in the dances, not just in your name. This is a strong company and it's great that it is surviving. It's not easy to do --so hang in there. But don't get too "forward thinking" that you lose the soul. Look to others for guidance: Ailey has been gone for a long time now and even though they have lots of new choreographers, Ailey's soul is ever present. This is a very good model for your own direction. Make sure Gus' vision is still there! And make sure to maintain an environment of joy, vibrancy and sex appeal! This is the heart of Jazz...it's not stuffy... by the book.. Right now the Dancer's read as if they are being pushed too hard and too adamantly. Someone told me that you just flew into NY that day...which sounds hectic -- but actually its part and parcel for a professional. The fact is if the choreography had more meat -- more personality, they would be able to pull it off - tired or not! But there wasn' t too much for them to work with. Further, reading on your own website that these dancers often have to go to your school, apprentice and then join the 2nd company and then, if they can make it, FINALLY, they join the first company is just too much! That's not Jazz... that's Ballet! and it's actually Ballet in America because in Russia they actually promote dancers even before they finish school if "they've got it". A lengthy and daunting apprenticeship does not make great performers. Sometimes it only succeeds to make worn out ones!
____________________________
And now, what you've all been waiting for:
MY FAVES! MY FAVES! MY FAVES! MY FAVES!
COMPANY XIV
2.75 Stars
Mdme. B. Award(s): BEST CUE
Advice to Obey: See Below.
Worth Presenting/ Funding Further?: Yes. It's a Great Cause that deserves to survive.
Fall For Dance Worthy? Not for 2010. Nope.
At a Glance: This is a first-rate, American Dance Company. Going back all the way to the 60's, Gus Giordano was known for creating purely American, compelling Jazz works! He literally "wrote the book" on Jazz Dance as a unique American Form, which I think you should purchase and read right now! This is our Cultural History! It's a company that a lot of dancers want to work for, and admire, because they have always been high in both technique, sexiness and style! Besides that, there is a real history at this organization. An important one to preserve!
The Performance: While I may be the only Critic to say this: I was utterly disappointed. I really found Nan's opening cuing to be more interesting than almost everything up until the Rennie Harris piece...and while that was the best piece of the program, it still wasn't 'WOW'! The dancer's seemed stressed. They smiled mind you, and are beautifully talented and capable, but their heart seemed somewhere else. It was patently not a sexy showing. Nan seemed friendly and chatty enough, but removed.
Honestly, I think there is some questioning that needs to be done of this organization's Artistic Vision. They've changed the name, barely a year after Gus' passing, to reflect what they say is a pure focus on Jazz. I say, HUH? Was this not always the case?!! Gus' name has always associated with popular, innovative, Sexy, JAZZ! There is no need to re-iterate that. What does it serve to take the very man who conceptualized and built this company as a JAZZ COMPANY out of the name?! I mean, He was a Marine! It's suspicious.
Second, and even worse, none of the choreography was his, or anything like his. Most of the movement was Modern in feel, vocabulary and partnering. This was not sizzling. It was not smoldering. It certainly didn't feel like Jazz.
I can't remember much of anything before "Gravity".... and only remember this because it is named after the extraordinarily beautiful song of the same name, by Sarah Bereilles. This is a FANTASTIC SONG... but the movement and relationship on stage did not at all compete or further enlighten. It was distracting. You shouldn't use such a popular music choice unless you are some genius choreographer. Or unless you are in a workshop. Or class. REALLY! Duh. My Opera Friend was most annoyed.
It was also told us that some dancer of theirs received a notation as "One of 25 to Watch" by Dance Magazine. However, the only dancer I was watching at all was the African American Female dancer (whose name I don't know bc there is no pictures of the dancers!!!!!!!!!!!Unless, you register?????!!!!!!!) She has Technique, Sass, Energy and Style! She looked absolutely joyful up there! And she came out way too late! She should be featured through and through. The others? Good enough to be paid, for sure. The men are really top notch -- and the women are in great shape and have strong enough technique...but I didn't find so much personal flavor that I would expect from a Jazz Troupe - especially Gus' Jazz Troupe! It just was not moving until we got to Rennie's piece. He rarely misses and choosing such great music and setting up a fabulous little scene, this was a piece where they get to get down. Boogie Down! But it still wasn't a total superb performance...had this same material been set on Camille Brown's company, well, now that might have soared!
What My Opera Diva Friend Said: "They ruined a great song. I just don't like Modern Dance. Sorry." After telling her it was Jazz, she looked at me and replied "Not Really."
Ouch. Better luck Next Year.
ADVICE TO OBEY: Consider your Brand & Focus on JAZZ & FEELING in the dances, not just in your name. This is a strong company and it's great that it is surviving. It's not easy to do --so hang in there. But don't get too "forward thinking" that you lose the soul. Look to others for guidance: Ailey has been gone for a long time now and even though they have lots of new choreographers, Ailey's soul is ever present. This is a very good model for your own direction. Make sure Gus' vision is still there! And make sure to maintain an environment of joy, vibrancy and sex appeal! This is the heart of Jazz...it's not stuffy... by the book.. Right now the Dancer's read as if they are being pushed too hard and too adamantly. Someone told me that you just flew into NY that day...which sounds hectic -- but actually its part and parcel for a professional. The fact is if the choreography had more meat -- more personality, they would be able to pull it off - tired or not! But there wasn' t too much for them to work with. Further, reading on your own website that these dancers often have to go to your school, apprentice and then join the 2nd company and then, if they can make it, FINALLY, they join the first company is just too much! That's not Jazz... that's Ballet! and it's actually Ballet in America because in Russia they actually promote dancers even before they finish school if "they've got it". A lengthy and daunting apprenticeship does not make great performers. Sometimes it only succeeds to make worn out ones!
____________________________
And now, what you've all been waiting for:
MY FAVES! MY FAVES! MY FAVES! MY FAVES!
COMPANY XIV
http://www.companyxiv.com
4 Stars
Mdme. B. Award(s): BEST UPCOMING DIRECTOR; BEST FEMALE PERFORMER
Advice to Obey: You Tell Me!
Marketing Advice: Great Press Pack. Needs a sheet with the Pics and Names of the Company as well as a contact email for the Director and the Agent tucked inside. A sheet for upcoming performance dates would be great, too.
4 Stars
Mdme. B. Award(s): BEST UPCOMING DIRECTOR; BEST FEMALE PERFORMER
Advice to Obey: You Tell Me!
Marketing Advice: Great Press Pack. Needs a sheet with the Pics and Names of the Company as well as a contact email for the Director and the Agent tucked inside. A sheet for upcoming performance dates would be great, too.
Worthy Presenting / Funding Further? Yes. Get in on this Now.
Fall For Dance Worthy? YES. They will more than meet the challenge!
At A Glance: Run by an ever so handsome Romeo of a Director (Austin McCormick), so young his cheeks are still aglow, I think the best thing I can do is post a quote from a British Theatre Guide: "Here is a company with something to say and the eloquence, brains and g**ddamn balls with which to say it!" Well Said! Being raised on Baroque Training and then finishing at Julliard has served this Gent well!
The Performance: First the title: "The Judgment of Paris". Set in what looks like The Court Of Versailles, this piece proves an inventive, saucy re-telling of the classic woes of Helen of Troy. Beginning with the scene of the Golden Apple, the story neatly encapsulates the entire course of affairs, even including a very chic Trojan War! Further, it's narrated perfectly along by Company Member Nick Fesette (or was that Seth Nemrich?). The grand entrance of the performers to the stage moments before they begin is totally enthralling and their lovely costume changes feels as if they might have been transplanted from the early days of Greek Theatre. Or perhaps I am in the Theatre Royale, right here in the middle of City Center, Studio IV! The interwoven plot, choice score (Part, Dietrich, Vivaldi) and dramatic material is entertaining as well as intelligent.
This is fine story-telling. Right away we are drawn in by the entire scene... each character is truly to the hilt, with glorious Period costumes complete with petticoats, corsets and padding galore. The Ladies are perfectly coiffed --each a Woman of her Own. As we enter more into the story, aided by cleverly composed and easy to follow narrative, it only takes a few moments before the intelligence,wit and humor are easily apparent. While it often that narrative is used only to ill-effect where dance is concerned, in this case the Narrative was welcome, crucial and fitting easily alongside the movement. Not at all a bore, or a disruption. This is no Camp Act.
The body is front and center in each Tableau, provoking the necessary resonance as a visceral, lusty tale. Even Davon's characterization as the front and center man-woman has a definite part and place, no strings attached. This is thoroughly enjoyable entertainment. The movement moves from the austere Pageantry and Gesture of the Baroque Era to the rambunctious verve of the Can-Can and then into a chic gestural Trojan War, complete with glittering battle uniforms symbolically representing Armor! (BTW: Who is this BEST COSTUME DESIGNER Olivera Gajic? WONDERFUL!) As I mentioned to Austin after, Yves Saint Laurent couldn't do better. and while the cohesion of the cast is that of a Company much its senior, Company XIV is brimming with solo-quality performers each totally convincing on their very own.
The performance of Gioia Marchese (above) was riveting -- winning her my Best Female Performer Award for the entire evening. She is just impeccable. Fully in command of her voluptuous physique and with an acting talent to match, she damn near stole the show. Who could believe that Paris could resist this Aphrodite? And because he indeed exhibits such good taste, she gifts him Helen, instead. The War Ensues, then with a twirl of her charm, she then uses her Russian Madame chops to transform the once-prideful Helen into a whimpering pout of a prostitute, teaching us all that "Pride Comes Before the Fall (of your Petticoats, that is)".
The Verdict: I was impressed, moved to both laughter, thought & inspiration. Certainly I'd dance for them and undergo plenty of humiliation besides. Further, it should be noted that Black Book has named Austin as an "Icon of The Future" and with his range of movement (Baroque to Classical Ballet to The Can-Can and more!), literary sensibility, obvious intelligence and more, who can contest such a charge?
Not I, Dear. Not I.
____________________________
MDME. B,S BEST IN SHOW! MDME. B.'S BEST IN SHOW!
KORESH DANCE COMPANY
www.koreshdance.org
4.5 Stars
Mdme. B. Award(s): Mdme. B,'s 2010 BEST IN SHOW; BEST MALE PERFORMER
Advice to Obey: Come back to NYC! Soon! Or I will be coming there!
Worth Presenting/ Funding Further?: Of course. A must. Donate HERE right now!
Fall For Dance Worthy? OF COURSE!! Common sense would tell me they've already been booked.
At a Glance: Directed by a 'paris-sexy', yet exceedingly gracious Israeli born Artistic Director Ronan Koresh, this Company does what in my mind every Great Dance Company should strive to do: MOVE AN AUDIENCE! Founded in 1991, its a must-see nearly 2 decades later!
The Performance: OK. Wow. Blew me away. I mean one moment there they were, casually marking the piece before the show. Right away you could see the fine tuning of the dancers -- but when they actually started? WHAT IN THE WORLD?!
Performing a piece titled "Evolution" one began to see that not only is this a Company of Stars but it's also a cast who is completely able to work together in unison as if they were one body. I haven't seen such crafted and moving choreography from a Modern Choreographer in so long, that I had nearly given up. (Actually, I officially did give up on Modern Dance and moved over into Ballet just a few years ago. Now I have a good reason to try (hard!) for a come back!) Always it seems the Modern World favors emotional but loosely developed concepts of "feeling" and exploration. It feels good to do, but not necessarily to view. Rarely does it ever lead the viewer anywhere memorable, but here my friend and I sat...with tears welling up in our eyes as we were taken into the primordial soul of Humanity. The vocabulary was so well devised and embodied that these ancestral human souls took us by alarming surprise as they negotiated the rites of love, passion, mating and growth. It was like watching a molten sort of soul... pouring hard rock, melting and transforming all that came within its path.
Every single performer was great! It's obvious they work very hard. But they all seem to totally love it. No one looked dead. No one looked unmotivated. No one looked pissed either! But of course as usual, a few kept standing out again and again. 1st: Melissa! Those Legs and those moves! You are a Cat Woman! (and there is a Society of Cat Women that my friend in Spain operates... I'll send you the details soon.)The fact that you have been dancing with the Company since 1991?? Well, you don't look anywhere near the point of slowing down. And why bother? Your movement is masterful, exhilarating and inciting of gasps - -even in the marked rehearsal. Alexis! Your visual intention and utterly stunning embodiment of the movement was superb.
The connection of duets, solos and group segments successfully interwove the complex emotional drives that exist below the surface of all human interactions. Drives most of do our best to contain as we try to live more modern, sophisticated lives. This very visceral display of needs, desires and expression is spell-binding. And the movement vocabulary -- where does Mr. Koresh get this? It is like he has some former life that was lived in one of Man's first caves..it is obvious that he lays bare his soul, and likewise, his dancers follow suit.
Then of course there was Mr. Eric Bean, Jr. (above). Winner of my BEST MALE DANCER AWARD. Eric's performance was beyond words, as his complete abandonment proved not only technically profound, but emotionally titillating! There was not an ounce of self-consciousness. This is a perfect example of an Artist at the service to his Craft. It wasn't really about him or 'his' personality or even his performance ... it was more about his message. As such, he connected brilliantly to the audience, and left us tied to his journey through the entire work.
The single most impressive result of this work was its ability to draw you in beyond your own intellectual will. You couldn't help but FEEL. And that is exactly what the theater is for. Bringing the viewer face to face with their own visceral, unadorned, feeling selves, the knot in the throat began to form, almost immediately. Aching with resistance, you want to escape but yet, you can not be moved! Compelling, these dancers craft their movements as if to ask Where are you going? Where do you come from? What are you made of? Where do your yearnings reside? Unable to pass off our own carefully crafted guise of self-control, there we all sat, riveted by the burn of welling tears.
OK! It has been a long night. Sweet Dreams,
Mdme. B.
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