Author: jason

Posted on

17c

17c at BAM on Saturday night involved significantly more reading (of select text from a 17th century diary) than dancing (which lasted only a few minutes).

The show made heavy of multimedia engagement, including presentation (e.g., six large LCD displays on either side of the stage, a large projector display onto the stage) as well as live streaming (e.g., overhead and point-of-view cameras).

However, the additional pixels didn’t add much to the production, were distracting at best, and in a few cases, undermined the live performance.

For example, displaying the text “they are dancing about their relationship” on the six large LCD screens as a husband and wife danced… (1) felt distracting; (2) made me wonder if the dancing was so empty that it must be supplemented by text to explicitly describe what the dancing meant; (3) took away my ability to interpret the dance; and (4) as a result, made the dancing feel completely empty.

Posted on

Complexions Ballet

​Go and see Complexions Ballet at the Joyce Theater until Sunday November 26th!

Congrats to Eriko Sugimura on debutting as a member of Complexions in New York City.

Complexion’s program for week one includes four premieres by four different choreographers. I especially enjoyed the contemporary piece “Summertime” and its emotional buildup, as choreographed by Dee Daspary and performed by Andrew Brader, Larissa Gerszke, and Youngsil Kim. Shanna Irwin and Addison Ector were beautiful in Ido Tadmor’s “Postponed Conversation”. I also like “Duo” which followed Dwight Rhoden’s beautiful lines and aesthetics of tall and elegant dancers.

Three things I learnt from Wednesday night’s curtain chat.

Desmond Richardson’s biggest piece of advice to dancers: “Dance needs to come from your heart. Have an experience dancing, and we (the audience) will have an experience watching you.”

Dwight Rhoden and Desmond Richardson choreograph for SYTYCD. Contestants on the show have only five hours to learn, rehearse, and put everything together! :O

The official name for the company is “Complexions, a Concept in Dance” and its mission is to “expose society to the beauty of dance and to use dance as a medium to exemplify cultural, racial and aesthetic diversity.”

Posted on

Garth Fagan Dance

“Find the good and praise it.”

What a treat tonight with Garth Fagan Dance at the Joyce Theater filled with positive energy, strength, and beauty.

I was impressed by Garth Fagan’s philosophy. From the curtain chat:

“In acting, music, painting, we revere the older artists. Why the reverse in dance?” The oldest member of his company, Steve Humphrey, is still performing at 65.

Equality. Men and women dance the same way in his company. Women jump as men do, and don’t wait for the prince to come.

Opening tonight’s performance, “Prelude” started out with dancers stretching, as if warming for a dance class. The movements gradually built up to form explosive leaps and kicks. The dynamic sequences were interlaced with stillness. Everything was performed with a smooth and relaxed style. Altogether, “Prelude” which Garth Fagan created to help introduce his new dancers, is a fascinating juxtapose of power and beauty.

“Estrogen/Genius” is a lovely work with five women dancing, playing, and enjoying each other’s company. In keeping with the themes of equality and positivity, the dance is accompanied by the voice of seven men singing about healing and saying positive things about their female counterpart.

“Wecoo Duende”, choreographed by Norwood Pennewell, is yet another dance filled with positivity about an alluring spiritual guide taking a people through a spirit quest.

“Life: Dark/Light”, capping the show, combined all the amazing elements of the night into one work. It’s fun, dynamic, and powerful. The dancers began the piece with a seemingly unremarkable walk, back and forth across the stage. Yet, surprises started to pop up. The energy and emotions continuously built up until the stage was filled with stunning movements.

Finally, the costumes for “Life: Dark/Light” — colorful patterns under a thin layer of white — perfectly reflected tonight’s dance: Subtle, humble, and yet unmistakably beautiful.

Bravos to all the dancers: Norwood Pennewell, Steve Humphrey, Natalie Rogers, Vitolio Jeune, Guy Thorne, Wynton Rice, Adriene B. Hodge, Andrew David O’Brian, Davente Gilreath, Sarah Herbert, Nina Price, Le’Tiger DeAnte’ Walker, Rishell Maxwell.

Posted on

The Red Shoes

Ashley Shaw was amazing in the Red Shoes, with gorgeous techniques and a potent personality that wooed the audience.

I’ve seen snippets of Matthew Bourne’s work online, but it’s a whole difference experience to watch two hours of dance theatre. I especially enjoyed how he created several highly detailed scenes without any spoken words. For example, Lady Neston’s Soiree (portraying boredom and dullness in a theatrical way).

The show has some nifty fusion of social and concert dance — combining “real world” swing and jazz-era movements with the beautiful lines of concert jazz dances.

Posted on

Dresden Semperoper Ballett

Dresden Semperoper Ballett at the Joyce Theater: a lovely performance and an educational curtain chat.

My favorites tonight go to both of David Dawson’s choreographies. The U.S. premier of “5” is lively and dynamic. The five dancers not only filled the stage and appeared to jump out of the stage at times, with the incredible amount of energy they had. I enjoyed the playfulness of the dancers and their interactions with the audience, especially by the lead dancer Alice Mariani. “On the nature of daylight” is also playful, with fun lifts while turning. The U.S. premier of “Vertigo Maze” has a satisfying sense of synchronization, partnering, mirroring amongst the dancers, that escape my ability to describe/articulate in words.

Three things I learnt from tonight’s curtain chat with Dresden Semperoper Ballett.

The difference in funding in Germany vs. U.S. (rather, the lack of funding in the U.S.) means that while Dresden Semporeoper Ballett still needs to fill the house (they’re 93% soldout yearly), they can take greater risks in programming and allow dancers to explore and immerse in many different styles. From Gaga to Martha Graham. From performing modern dance one night to Swan Lake the next.

The company advocates an open culture. Artistic director Aaron Sean Watkin describes his philosophy as treating every dancer like an adult, as a person, and not just an extra dancer. By instilling confidence in the dancers, they become more pro-active in their learning. Dancers should be thinking and filling their minds with information, and be more mentally than physically tired. I like the philosophy!

Finally, I also learnt something new about the Germans. Germans love to learn the ideas behind a piece of choreography, and seek out the program notes!

Posted on

Fake Apple Store

iPhone X has arrived at the newest Apple Store in Manhattan!!! 😉

This is why we live in New York City! Build a (fake) Apple Store. Put on a show. Delight random strangers on the streets. Add unexpected surprises and laughters to a busy subway station. A fun-filled day with Improv Everywhere.

Check out the full mission report!

 

“Fake Apple Store” by Improv Everywhere

Directed by Charlie Todd / Produced by Deverge / Music by Tyler Walker
For our latest mission, we turned the 23rd Street 6-train elevator into New York’’s newest Apple Store. We placed giant Apple logos on the sides of the glass cube structure, added fake Apple Store employees plus a line of 50 people waiting for the new iPhone X. With the famous 5th Avenue Apple Store under construction, we felt NYC needed a new glass cube Apple Store.

Posted on

An American in Paris

I got tickets to “An American in Paris” at the West End three months ago, on the very day I found out I’m coming to London.

So happy to experience one of my all-time favorite musicals again.

On a different note, crazy insane major congratulations to my ballet teacher Deanna Doyle who debuted as Lise on the US national tour of “An American in Paris” last night. 🤗😃😍

Posted on

Pinocchio by Jasmin Vardimon

Pinocchio by the Jasmin Vardimon Company at Sadler’s Wells was incredible this evening.

What is it to be human? To dream, to strive, and to love. Tonight I felt the aspiration, sadness, loneliness, and love… both on stage and deep inside myself as I laughed and cried with Pinocchio.

Absolutely loved this piece of dance theatre: a wonderful choreography that brought a marionette to life, and even more amazing dancers who executed the movements.

So stunning was the movement quality that I had to rub my eyes multiple times to truly believe I was seeing real people. Nobody could possibly move like so?! No dancers could possibly partner so well and be so coordinated?!?!?! Especially memorable scenes include: chapter 1 when Pinocchio first came alive, chapter 4 at the Marionette Theatre (insane puppet work whereby two dancers controlled a third “puppet” dancer), chapter 6 at the Inn (especially the human ceiling fan and the two lovers who were portrayed by four feet), and chapter 13 when Pinocchio was taunted and bullied (and when I cried and others audibly gasped). Other beautiful moments: the Fairy and the start/ending scene with a chain of dancing toys.

Creative set design that floated in the air. Expressive lighting design that enhanced several key scenes.

Wish I had come yesterday and seen the show a second time.