Flash Focus, 10-25: Think Globally, Act Regionally — Angelini Builds New Home for New Dance; Lustig Smashes Glass Ceiling

tulsa-new

Tulsa Ballet’s Daniela Buson and Wang Yi in Ma Cong’s “Blood Rush” on the opening program at the company’s intimate Studio K theater. Christopher Jean-Richard photo copyright Christopher Jean-Richard and courtesy Tulsa Ballet.

By Paul Ben-Itzak  
Copyright Paul Ben-Itzak

(Author’s Note, 10-25-2016: In processing my interview with Marcello Angelini in 2008, I was so focused on the immediate picture in front of me – the Tulsa Ballet artistic director’s investment in creating infrastructure, as one of the rare young directors of mid-sized ballet companies who wasn’t using it as merely a stepping stone to something bigger – that I under-emphasized the importance of Angelini’s vision about ballet’s larger role as a cultural and even historical vector. Beyond pointing to paragraphs six and seven below, I can only add here an element of Angelini’s trajectory which no doubt helped forge his global vision and historical appreciation for ballet’s role in reflecting and advancing the larger culture in the same way that his very Italian manner of finding a suit influenced his designs for the new theater. Before turning to directing ballet companies, he danced for many years with Rudolph Nureyev’s touring company, frequently alternating with the star in principal roles. On the day I write these notes, we’ve just learned of the death of the activist, author, and politician Tom Hayden two days earlier at the age of 76, after a long illness. Hayden is remembered for co-founding, in 1961, Students for a Democratic Society, an early agitator  for civil rights and free speech, and against the Vietnam War. In 1968 he was tried as a member of the so-called Chicago Eight after protesting outside the Democratic Convention. The last time I saw Hayden was in Sacramento, California, during the 1992 government shut-down in a squabble over the state budget. Sitting in a subdued legislative chamber, the goatee’d Hayden was profiting from the lull to immerse himself in a new book about “Generation X.”  No fossil he. But fundamentally, Hayden’s importance was that he refused to accept business as usual. Ballet has far too few of these  — another reason to celebrate agitators like Marcello Angelini.)

Recently I received the Royal Ballet’s programming announcement for next season. I had trouble keeping my eyelids open. The same old dinosaurs being trotted out, whether in tired versions of classics or tired names of supposedly original modern ballet choreographers. Fortunately, where many of the large ballet companies have failed to imagine, the companies we big-city types used to condescendingly refer to as “regional” (as in, ‘not bad for a regional company’) have come through, commissioning new work with traction from choreographers not named Wheeldon, encouraging original voices to work in the ballet idiom without sacrificing classic values or, like many European ballet companies (Lyon comes to mind) resorting to extra-dance elements like text and ‘technology.’ At the top of this list are Marcello Angelini’s Tulsa Ballet and Graham Lustig’s American Repertory Ballet.

Angelini and Lustig have one other trait in common which is revealing itself in the level of talent and support they’ve been able to build. Neither see their companies as simple necessary stepping stones in ambitious trajectories whose ultimate goal is to land them a job with a bigger company. As a result, rather than the flashy programming which garners short-term attention but leaves no legacy (or, worse, the legacy of a deficit) that we often see from directors whose ambitions are confined to their own careers, they are actually building structures, community infrastructures,  and patron relationships from which their companies and audiences will reap benefits long after they’ve departed.

In Angelini’s case, the most visible evidence is a capital campaign which, over the past five years, has raised $17 million, $8.9 million of which has been directed towards a building expansion and renovation which sees its first fruits Thursday with the opening of Studio K – Kivisto Hall, a 300-seat theater designed expressly for the performance of new work in an additional fifth series for the Tulsa home season. (For this inaugural edition, three tango-themed works by Fernanda Ghi and Guillermo Merlo, Young Soon Hue, and Tulsa Ballet principal dancer Ma Cong, on a program running through May 4. See Alicia Chesser’s review, elsewhere in these DI Archives.) The facility, named after Tulsa supporter Tom Kivisto, will serve for performances and education, and be available for community rental.

“This is a theater built to suit a new program, a new series that we are starting this year, rather then the other way around,” Angelini explained to me earlier this week. “This series has been in the making since I first came to Tulsa 13 years ago. In fact, it was one of the first projects I presented to the board of directors. It was all part of a plan, a three-fold plan with this series dedicated to creation being the last part of the plan. First I wanted to build a company that was able to dance everything, from the classics to the most contemporary work. Then I wanted to build a repertory that was truly international, allowing the people living in our community to experience here, in their homes, the same works they could see in New York, Paris, London, Milan or Moscow. Then, once the international repertory was built, I wanted to take the company internationally and give us a true test of our value, as assessed by reviewers and audiences that had never seen us before and would never see us again. Lastly, I wanted to add a series dedicated to creations.

“I always felt that creations need a special surrounding to be appreciated to the fullest. So, rather then creating a work and trying to fit it into a theater, I did the opposite. And that’s when being Italian helped in the thought process…. In Italy, we don’t just buy a suit and then fit it on our body. We go to the tailor, we get the fabric we like and we ask him to build it on our body…. I believe we are the only company in the U.S. that has spent $5 million to build a theater entirely dedicated to the creation of new works and, thus, to the progression and growth of the art form. This is the statement I wanted to make with Kivisto Hall.”

Angelini broadens the scope of his intentions with a credo that should serve as a guidepost for all guardians and cultivators of this art: “We enjoy an introspective look at the sociology and emotions of our ancestors from the 19th century through the art they created,” he says. “Better yet, with dance, this art comes alive in front of our eyes. We artistic directors need to commit to create a body of works that will withstand the test of time and will represent, a century or two from now, who we were at this time in the development of the human being.

“Another reason for creating art is that we, the arts organization, differ from the entertainment industry insofar as we have a responsibility toward the cultural growth of the community that supports us. Yes, we have to entertain, but we also have a responsibility to push the cultural boundaries of our people, challenge them to think, to accept progress, to expand their vision beyond the boundaries of the community they call home. Our job is to both please and make people think. Kivisto Hall will allow us to continue this commitment by creating works that are leading edge, while still entertaining and never infringing on the artistic integrity of the art form.”

Speaking of boundaries, for an art form that owes most of its historical stages of physical invention and development to women — from Taglioni’s enabling the articulation of Romanticism (see elsewhere in these DI Archives), to Farrell’s articulating and even inspiring Balanchine — ballet has a lousy record when it comes to allowing women creators *equal* access. It was in part to correct this that, several years ago, artistic director Graham Lustig started the Dancing through the Ceiling commissioning program at American Repertory Ballet, based in the working-class and university central New Jersey town of New Brunswick. But he didn’t stop there. The problem with sex or race-centric programs is they risk ghettoizing the very group they seek to promote. An all-female, all-Black, all-gay program carries the unfortunate subtext, “not bad for (women, Blacks, Gays).” It can even imply that the works will be of little interest to anyone outside that group; that they’ll speak only to an identity constituency. What Lustig does, however, is to integrate these works into his general programming. So even though three of the four works making up ARB’s program at New York’s Symphony Space May 8 and 9 are by women, the program is not being marketed as “Three Girls and Graham” but under the more universal rubric “Sinatra, Shadows, and Stars,” the ballets in question being inspired by the crooner from Hoboken, Balanchine, three Van Gogh paintings including “The Starry Night,” and the diary of Anne Frank.

The program starts with a work from that giant of male and female choreographers of the late 20th century, Twyla Tharp, in her Balanchine homage “Octet,” only the second time in 17 years the work has been programmed in New York. (Seeing the piece earlier this year in New Jersey, the Star-Ledger’s Robert Johnson called it “the most thrilling Tharp revival anywhere this season.” (And there have been a lot of them, notably at American Ballet Theatre; see elsewhere in these DI Archives.) Tharp also contributes “Sinatra Suite,” in a staging by Elaine Kudo, who created the duet with Mikhail Baryshnikov. The Dancing through the Ceiling commission is “Starry Nights,” one of more than 80 ballets created by Lisa de Ribere, and which takes its inspiration from Van Gogh’s “Starry Nights Over the Rhone,” “The Cafe Terrasse, Arles, at Night” and “The Starry Night.”

Even the one work on the program created by a male, Lustig’s “Shadows in the Attic,” owes its source to a young woman, reflecting the last night diarist Anne Frank, her family, the van Daans and Mr. Dussel spent in the Secret Annex before being discovered and before they were hauled off to the death camps by the Gestapo, all but Anne’s father Otto perishing. Bringing it back home to Angelini’s point about the potential of art to reflect a time and of dance to do it in real time, reviewing this ballet, Johnson wrote, “Such unusual works do more than underscore the empathic function of art; they place art within the realm of civic duty.”

Advertisements

The Dance Insider Illustration, 10-20: Ananiashvili Brings it Home

robin-nina-illo

Art & Text by Robin Hoffman  
Copyright 2008, 2016 Robin Hoffman

First published on the Dance Insider on March 14, 2008.

NEW  YORK — Put in context, the unevenness shown by Nina Ananiashvili and the State Ballet of Georgia on February 29 at the Brooklyn Academy of Music pales compared to what they have achieved. Ananiashvili has only been working at the helm of the company since 2004, and she has transformed a broken institution into something presentable if not rivaling world-class just yet.

Four years is not very long to absorb some 18 new ballets (in addition to the classical repertory), unify training, develop dancers’ talents, and surmount additional challenges in a place that lacked an artistic director, public performances, and even protection from the winter blowing into the dance studios in the years prior to Ananiashvili’s arrival. So it wasn’t a big surprise, for example, that though the star herself looked at ease in Balanchine’s “Chaconne,” the work sat uncomfortably and unevenly on the rest of the large cast. There is a unique stylistic learning curve with Balanchine.

I was mentally balancing my expectations this way through the evening when suddenly the tables turned. For the final piece on the program, “Sagalobeli,” Ananiashvili had called upon her friend and former partner at the Bolshoi, Yuri Possokhov, now resident choreographer of San Francisco Ballet. There could have been no one more perfect to give the State Ballet of Georgia a signature ballet. My Dance Insider colleague Aimée Ts’ao has previously noted (see elsewhere in these DI Archives) Possokhov’s talent for bringing out “the best in dancers and show(ing) facets of them that have not been even hinted at before.” He did that and more for the State Ballet of Georgia. In the program notes, the choreographer (who hails from the Ukraine) writes, “For anyone who lived in the former Soviet Union, Georgian polyphonic songs, folk dances, theater, cinema, and art are an essential part of cultural awareness.” Possokhov can bend ballet vocabulary to suit an expression, and he gave the audience and the dancers a ballet that spoke joyfully of a connection with the land and rhythm of life in that region. It was confidently and dynamically performed; truly owned by the dancers. (The traditional Georgian Folk music was performed live on traditional instruments by the Sagalobeli Ensemble.)

Sometimes, we don’t need a company to be another Bolshoi or another New York City Ballet, we just need it to really be itself.

red-shoes

Moira Shearer in Michael Powell & Emeric Pressburger’s 1948 “The Red Shoes.” (1948). Courtesy MGM

By Harris Green
Copyright 2008, 2016 Harris Green

Originally published on December 18, 2008. Frederick Wiseman’s latest documentary profiles the New York neighborhood of Jackson Heights.

NEW YORK — Those New Yorkers who immodestly presume they live in the Dance Capital of the World had, for a few weeks this fall at least, good reason to believe they were living in the Dance Movie Capital of the World. On November 4, the ever-reliable SoHo triplex Film Forum broke the long drought of motion pictures about ballet by presenting the U.S. theatrical premiere of Frederick Wiseman’s 2-hour, 38-minute documentary, “La Danse: The Paris Opéra Ballet,” then showing two days later a gloriously re-mastered print of Michael Powell and Emeric Pressburger’s beloved 1948 high-camp classic, “The Red Shoes.” New Yorkers had been subsisting on such parched fare as Robert Altman’s “The Company” (2003), which even Altman seemed to have lost interest in before it was finished, and Nicholas Hytner’s “Center Stage” (2000), which sank under the dead weight of clichés. (Eight years passed before anyone risked a sequel, “Center Stage: Turn It Up,” and that one went direct to DVD.) Stephen Daldry’s “Billy Elliot” (2000) shouldn’t count because it painted a truer picture of Mrs. Thatcher’s England than it did of a dance class. Not surprisingly, Film Forum found itself besieged by capacity crowds for both ‘Shoes,’ which ended its scheduled two-week run on November 19, and “La Danse,” which is in its sixth week as this report is filed, and has since opened in Los Angeles and Chicago.

Our ballet-challenged film reviewers spent much of their space hailing Wiseman for his 40-year career as an objective observer who never editorializes and scrupulously exercises his considerable power as film editor. He was duly hailed for these qualities in “La Danse,” his 35th documentary (there have been two fiction films), but no movie reviewer I read prepared balletgoers for what Wiseman captures as his camera roams the corridors, stairwells, studios and stages of the Palais Garnier for 12 weeks (in the fall of 2007). Some of the world’s most gifted and beautiful dancers are shown stuck in a predominantly Eurochic repertory that debases their artistry as heedlessly as it wastes their energy, yet the ever-objective Wiseman doesn’t seem either bothered by or aware of it.

For a New Yorker, a year of POB’s assiduously advanced, flavor-of-the-month fare would be as enervating as attending a City Ballet season devoted almost entirely to Diamond Project commissions.

To get the rest of the article, including a new introduction by Paul Ben-Itzak, subscribers please contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10; contact Paul. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .

freespace-group-small

For her new “I Know You,” Donna Scro Samori, artistic director of Freespace Dance, has brought together 23 dancers ranging in age from 15 to 65. Premiering October 22 at 8 p.m. and October 23 at 4 p.m. at the Space at Yoga Mechanics in Montclair, New Jersey, “I Know You” explores the shared worlds, experiences, thoughts, and emotions that connect people from different walks of life, says Samori, a veteran of the Nikolais/Louis, Sean Curran, Peter Pucci, and other dance companies who often integrates Anusara yoga, of which she’s a certified teacher, into her choreographies. Photo from Donna Scro Samori’s “I Know You” by and copyright Robert Cooper.

Flash Flashback, 10-18: Music First, Dance Always — Donna Scro Samori Frees the Space at Danspace

freespace-donna-2

Donna Scro Samori and Nicole Smith in their “Wombed.” Photo copyright Sean Duckett and courtesy Freespace Dance.

By and copyright Nicholas Birns

(Originally published on July 6,2011.)

NEW YORK — Donna Scro Samori’s New Jersey-based Freespace Dance took a provocative step in its self-produced program last week-end at St. Mark’s Church, part of Danspace Project’s Dance Access program, by opening with a strictly musical performance. The force of the two introspective and melancholic, alternately soaring and brooding pieces, Amanda Harberg’s “Eagles; Flight” and “The Storm,” as performed by Harberg on piano and Brett Deubner on viola, was heightened by the sense of sacred space present in the performance, the seating and performance space being roughly the same as it is for St. Mark’s Church services. Having attended many performances in this space over the years, I have seen the audience and performers positioned in virtually very conceivable configuration, but there was something simple and beautiful about the spectators facing the altar, as it were, which was heightened by the austere, uncloying, yet very intense and, with a very small ‘r,’ romantic music.

To get the rest of the article, subscribers please contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10; contact Paul. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .

 

eiko-sato-1

In a moment in time when many in the mainstream media portray the urban ‘jungle’ as a place of menace where no one — concert-goers, cafe terrace denizens, sports fans, demonstrators, even policemen and women — is safe, so-called ‘street artists’ play an increasingly crucial role in reminding us that not just death but delight might be lurking on the corner. One of the modern miracle workers who has left his mark on the walls of Berlin, Bruxelles, Athens,  and Paris, the appropriately monikered Fred Le Chevalier is currently being feted in the more formal settings of le Bon Marché in the toney 6eme arrondissement of Paris, the Cité des sciences et de l’industrie in the Park la Villette and, in the upper reaches of Belleville on the rue Cascades (#57), the gallery Eko Sato, where his solo exhibition We’ll Dance until the World Turns Around runs through Saturday. For the artist, one of the charms of his work created on more exposed urban surfaces is “the idea that one never knows if the collages are going to last five minutes or a year. This conciousness that they might disappear is part of the game. The idea of the ephemeral is part of the beauty of the action; that’s the paradox.” Taking Le Chevalier’s point, we’d dispute that for anyone who’s ever had his sensibility singed by ‘street art’ these admittedly impermanent tableaux are so ephemeral que ca. Above: “On dansera jusqu’à ce que le monde tourne rond,” Fred Le Chevalier, 35 x 35 cm. Ink on paper. Copyright Fred Le Chevalier and courtesy Galerie Eko Sato. — Paul Ben-Itzak 

Flash Flashback, 10-12: Trickland — Macras Turns Clichés into Art

By  and copyright Angharad Davies

(Originally published February 7, 2008.)

BERLIN — Watching Constanza Macras/Dorky Park’s newest creation “Brickland” is a lot like downing a frosty can of Red Bull, followed by a few shots of Nesquik. There’s not much rest for the eyes. The in-your-face, marinated in pop culture trashiness overwhelms in both the work’s thematic scope and its imagery. It’s almost like watching video after video on YouTube, but without the anesthetizing effects. And it’s definitely a lot more fun. The 12 inhabitants of “Brickland,” which takes its name from a vacant residential development in Macras’s hometown of Buenos Aires, use song, text, video, and movement to create a messy world that touches on a myriad of troubling and messy subjects. Climate change, incest, marriage, xenophobia, protectionism, bra-burning, homelessness and L. Ron Hubbard each rear their icky heads in this two-hour, intermissionless production.

To get the rest of the article, subscribers please contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10; contact Paul. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .