Tag Archives: Cassidy Isaacson

With its Second Season Production ‘Collide,’ Deos Contemporary Ballet Looks to Up its Visibility around Western Michigan

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Deos Contemporary Ballet dancers Kristen Hammer, Christine Settembrino, and Kathryn Tokar rehearsing Tess Sinke’s “Remembrance.” Photo by Jon Clay.

By Steve Sucato

Tess Sinke’s Deos Contemporary Ballet enters its sophomore season with a new mixed repertory program of dance works and bit of growth as an organization. The Grand Rapids, Michigan-based, summer-only troupe consisting of local professional dancers and those from around the country, will not only be returning to downtown Grand Rapids’ Peter Martin Wege Theatre for performances of its latest production Collide on August 2 & 3, but will also repeat the production in nearby Muskegon on August 9 & 10 at the Frauenthal Center’s Beardsley Theater.

For a company still looking to get a foothold with Grand Rapids dance audiences, the move to add performances in a second city is an ambitious step forward. One Sinke hopes will pay off in higher visibility for the company going forward.

As with last summer’s inaugural production An Evening of Brahms, this summer’s Collide will predominately be a showcase of Sinke’s choreography along with a new ballet by former Grand Rapids Ballet star Cassidy Isaacson, and a reprise of Attila Mosolygo’s “Brahms Trio” from last season.

The program (subject to change) will open with Senke’s new 4-minute ballet “Martha” that she says was inspired by the many strong women in her life. The warrior-like ballet for 5 women costumed in red is set to Daniel Pemberton’s song “Jackeyes Tale,” from the soundtrack to the 2017 film, King Arthur: Legend of the Sword.

Next will be Isaacson’s debut work for Deos, “Happiness Does Not Wait” to music of the same name by Iceland’s Ólafur Arnalds. The 4-minute contemporary dance work looks at two different personal relationships juxtaposed together onstage. In one, a male-female couple struggles with a one-sided relationship while in the other, an all-female couple who are both fully invested in theirs thrives. Isaacson says she drew inspiration for the work from recent personal experience with her boyfriend who took a leap of faith in their relationship and moved with her to San Francisco after she accepted a dancer contract with Smuin Ballet.

A veteran dance studio competition choreographer, Isaacson says she ramps up the intensity and technical levels of her choreography when working with professional dancers. “I do very energetic and athletic works and I love pushing the boundaries in partnering and floor work,”  she says.

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Deos Contemporary Ballet dancers Michael Burke and Melissa Ludwig rehearsing Tess Sinke’s “Remembrance.” Photo by Jon Clay.

“Remembrance,” another new ballet by Sinke, also has its genesis in personal experience. This time stemming from Sinke’s recent devastating miscarriages.

“My husband and I have dealt with two miscarriages in the last 8 months and the ballet is about how society views miscarriage and infertility, and how it is still taboo to talk about,” says Sinke. “Most women deal with this struggle on their own, almost feeling like it is not something they are not allowed to grieve about.”

Also danced to music by Ólafur Arnalds, the 15-minute contemporary ballet in 4 movements is for 9 dancers (8 female, 1 male) including Kathryn Tokar of Virginia’s Charlottesville Ballet who says of Sinke’s approach to the ballet, “Tess is really good at creating emotional and gestural movement that isn’t too literal in conveying the work’s subject matter.”

In “Remembrance,” the dancers are seen reaching for a single light bulb suspended above them just out of reach. The lit bulb is meant to symbolize for those who have experienced a miscarriage the life they wanted to bring into the world but was lost.

The program then shifts moods to lighthearted with Sinke’s new ballet “Curiosity,” danced to music by London based singer-songwriter Ben Cocks. The 12-minute piece for 8 dancers costumed in all white says Sinke “is just that inner child in all of us coming out.”

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Deos Contemporary Ballet dancers Gracie Holway and David Sent rehearsing Tess Sinke’s “Unfinished.” Photo by Jon Clay.

Following Mosolygo’s aforementioned “Brahms Trio,” will be Sinke’s new 10-minute pas de deux “Unfinished” danced to Iskra String Quartet’s recording of composer Peter Gregson’s “Chorale (Five).” Taking its inspiration from the line “Do not look for healing at the feet of those who broke you,” contained in Canadian-Indian poet Rupi Kaur’s poetry collection Milk and Honey, the work features a male character that represents the darkness in a female character’s life that she ultimately chooses to move away from.

Rounding out the program will be Sinke’s re-worked ballet “Lord, Look Down.”  Created in 2012 while Sinke was a student at Mercyhurst University in Erie, Pennsylvania, the 15-minute multimedia ballet for 11 dancers to music by Dmitri Shostakovich, John Williams and others, features a 20-foot church pew set piece. Says Sinke of the ballet, “It is an inward look at ‘the church’ as being a place where we often feel we need to be perfect when in reality it is a place where people who are flawed and have made mistakes come together to love one another without judgement.”

Deos Contemporary Ballet performs Collide, 7:30 p.m., Friday, August 2 and on 2:00 & 7:30 p.m., Saturday, August 3 at the Peter Martin Wege Theatre, 341 Ellsworth Avenue SW, Grand Rapids, Michigan. Tickets are $35 and available at ticketmaster.com or by calling (800) 982-2787. The program repeats 7:30 p.m., Friday, August 9 and Saturday, August 10 at the Frauenthal Center’s Beardsley Theater, 425 W. Western Ave., Muskegon, Michigan. Tickets are $35/Advance, $40/Day of Show and are available at startickets.com or by calling (800) 585-3737. More information at deosballet.com.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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Grand Rapids Ballet’s ‘Extremely Close’, Extremely Good [REVIEW]

Alexander Meister-Upleger in James Sofranko's The Sweet By and By. Photo by Scoot & Kate Rasmussen 500px

Alexandra Meister-Upleger (center) in James Sofranko’s “The Sweet By and By”. Photo by Damion Van Slyke.

Grand Rapids Ballet – Extremely Close
Peter Martin Wege Theatre
Grand Rapids, MI
April 12-14, 2019

Reviewed by Steve Sucato

In the company’s first season under new artistic director James Sofranko, Grand Rapids Ballet appears to be continuing on the path of upward trajectory begun by former artistic director Patricia Barker now the director of The Royal New Zealand Ballet.

The company’s program Extremely Close, on Saturday, April 13 at their in-house Peter Martin Wege Theatre, was varied, well-balanced and top notch. GRB’s dancers never looked better with adroit performances rivaling some seen in the finest dance companies in North America.

The program opened with veteran dance maker Val Caniparoli’s “Ibsen’s House” created for San Francisco Ballet (where Sofranko was a soloist) in 2008.

Caniparoli, one of the most consistently brilliant dance-makers working today, created with “Ibsen’s House,” a choreographic jewel.  The ballet was inspired by five female characters taken from Norwegian playwright Henrik Ibsen’s plays; A Doll’s House (1879), Ghosts (1881), Rosmersholm (1886), The Lady from the Sea (1888), and Hedda Gabler (1890). Said Caniparoli, in an interview about the ballet, “Ibsen’s radical ideas about marriage, gender roles, and family relations shocked and outraged many of his contemporaries, and still hold resonance today.”

Cassidy Isaacson and Steven Houser in Val Caniparoli's Ibsen's House. Photo by Ray Nard 500px

Cassidy Isaacson and Steven Houser in Val Caniparoli’s “Ibsen’s House”. Photo by Ray Nard.

Danced to excerpts of Antonín Dvořák’s “Piano Quintet in A Major, Op 81” played live, the ballet had as a partial backdrop a large window frame with the dancers costumed in rich-looking, buttoned-up Victorian dresses for the cast’s five women and equally stiff suits for its five men by designer Sandra Woodall that suggested persons of privilege.

The ballet, an amalgamation of the aforementioned Ibsen plays’ themes and attitudes towards their heroines, unfolded as a series of vignettes expressing the emotions and attitudes each of the women with regard to the important personal relationships written about in the plays they appear in.

While it might be helpful in knowing these women’s stories in Ibsen’s plays, in some ways, it may also have been better not to as to not bring to the ballet expectations of the women’s character portrayals and those of others in the ballet.  Caniparoli’s choreography spoke volumes on its own.

Cassidy Issacson in Val Caniparoli's Ibsen's House. Photo by Ray Nard 500px

Cassidy Issacson in Val Caniparoli’s “Ibsen’s House”. Photo by Ray Nard.

“Ibsen’s House” began with a series of solos introducing each of the five women and laying out their particular demeanor starting with dancer Cassidy Isaacson as Hedda Gabler from Ibsen’s play of the same name.

Isaacson was riveting as the cold and callous Gabler who appeared determined to fight back the boredom and disappointments in her life. Costumed in a mauve and black dress, Isaacson performed Caniparoli’s sharp, illustrative ballet choreography with soul withering intensity. Her deliciously superior attitude then gave way to the worried nervousness of Yuka Oba as Nora Helmer from A Doll’s House.  Oba’s solo, like Isaacson’s, was expertly-crafted with a high level of technique and phrasing. Caniparoli, who choreographed GRB’s The Nutcracker, creates the types of ballets that GRB and its dancers can only benefit from in taking the company to the next level in its upward trajectory.

Alexander Meister-Upleger in Val Caniparoli's Ibsen's House. Photo by Ray Nard 500px

Alexandra Meister-Upleger in Val Caniparoli’s “Ibsen’s House”. Photo by Ray Nard.

Next, newcomer this season, Alexandra Meister-Upleger portrayed Helene Avling from Ibsen’s “Ghosts”.  The former Nashville Ballet dancer moved a bit like a prancing horse in a gesture-laden solo that the veteran dancer performed superbly. She was followed by Connie Flachs as the unfulfilled Ellida Wangel from “Lady of the Sea” in a swooping and swaying solo and GRB up and comer Madison Massera as the manipulative Rebecca West from “Rosemersholm”.

Yuka Oba and Nathan Young in Val Caniparoli's Ibsen's House. Photo by Ray Nard. 500px

Yuka Oba and Nathan Young in Val Caniparoli’s “Ibsen’s House”. Photo by Ray Nard.

The second half of the ballet paired the women with their male counterparts and sources of consternation in Ibsen’s plays. A series of dark and troubled pas de deuxs then further fleshed out the relationships between these characters. Most memorable was that of Oba and Nathan Young as the stern Torvald Helmer, her character’s husband in “A Doll’s House” who has found out she has been secretly stealing from him. The perfectly danced pas de deux filled with tension and peril left one  gripping at their seat watching it unfold.

Switching stylistic and emotional gears, the world-premiere of Sofranko’s “The Sweet By And By,” danced to lively jazz music by New Orleans’ Preservation Hall Jazz Band, was a charming spirit-lifter.

Levi Teachout, Nathan Young, and Adriana Wagenveld in James Sofranko's The Sweet By and By. Photo by Scott & Kate Rasmussen 500px

Levi Teachout, Nathan Young, and Adriana Wagenveld in James Sofranko’s “The Sweet By and By”. Photo by Scott & Kate Rasmussen.

The ballet followed main character Steven Houser as a carefree, life-of-the-party gent in a parade of bubbly dances with his large group of friends to the songs “When the Saints Go Marching In,” “Down by the Riverside,” “By and By” and others.

Looking like frolicking characters from F. Scott Fitzgerald’s The Great Gatsby, Sofranko infused the ballet’s choreography with an energy and bravura that was pleasing.

Interjected into this world of glee were moments of melancholy. Houser’s flirty and infectiously positive character was, underneath that exterior, quite lonely for companionship and a meaningful romantic relationship. After several tries in the ballet, he found that companionship in a female friend portrayed by dancer Gretchen Steimle.

Steven Houser and Gretchen Steimle in James Sofranko's The Sweet By and By. Photo by Scott & Kate Rasmussen 500px

Steven Houser and Gretchen Steimle in James Sofranko’s “The Sweet By and By.” Photo by Scott & Kate Rasmussen.

Truly a vehicle for Houser’s wide-ranging talents as a dancer, he simply killed it and received a rousing ovation at ballet’s end.

The program concluded with its namesake work “Extremely Close” by former Hubbard Street Dance Chicago dancer and resident choreographer, Alejandro Cerrudo.

Choreographed in 2008 (and making the rounds to several regional ballet companies next season), the contemporary dance work was Cerrudo’s second-ever and smacked of a young dance-maker looking to make a big impression — He did.

Emily Reed and Isaac Aoki in Alejandro Cerrudo's Extremely Close. Photo by Scott & Kate Rasmussen 500px

Emily Reed and Isaac Aoki in Alejandro Cerrudo’s “Extremely Close.” Photo by Scott & Kate Rasmussen.

Set to music by Philip Glass and Dustin O’Halloran, the work began in silence with white feathers slowly drifting down from the rafters and piling up on the stage floor like fluffy snow. A cast of 8 dancers in socks cut paths in the feathers with their dancing, launching into prolonged slides across the floor as if ice lay below the surface of feathers. Into this scenic dreamland, Cerrudo also added door-sized moving walls that the dancers then appeared and disappeared from behind as they glided in lines across the stage. GRB’s dancers were brilliant in their timing pulling off these visual effects.

Yuka Oba and Matthew Wenckowski in Alejandro Cerrudo's Extremely Close. Photo by Damion Van Slyke 500px

Yuka Oba and Matthew Wenckowski in Alejandro Cerrudo’s “Extremely Close”. Photo by Damion Van Slyke.

Led by dancers Yuka Oba and Matthew Wenckowski, GRB’s dancers performed Cerrudo’s grounded movement language that is so associated with his works and that of Hubbard Street, marvalously. The breathtaking work ended with Wenckowski at the front of the stage pulling up the stage floor over his head and running toward the rear of the stage a la the billowing fabric effect used in choreographer Jiri Kylian’s masterwork Petite Mort.

Steve Sucato is a former dancer turned arts writer/critic. He is Chairman Emeritus of the Dance Critics Association and Associate Editor of ExploreDance.com.

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With ‘MOVEMEDIA’ Grand Rapids Ballet pushes boundaries and audience expectations

Grand Rapids Ballet dancers in Sagi Gross' "One Charming Night."

Grand Rapids Ballet dancers in Sagi Gross’ “One Charming Night.”

Grand Rapids Ballet
Peter Martin Wege Theatre
Grand Rapids, MI
March 13, 2015

Reviewed by Steve Sucato

For the first installment of Grand Rapids Ballet’s annual MOVEMEDIA series for the 2014-2015 dance season at their Peter Martin Wege Theatre, GRB artistic director Patricia Barker chose a mix of choreographers new to the contemporary dance series with one familiar to it and Grand Rapids Ballet audiences.

The boldest of the lot in terms of stretching both the dancers’ and audiences’ comfort level was newcomer Gross. The Israeli/Dutch choreographer and artistic director of Amsterdam-based Gross Dance Company had two works on the program beginning with the U.S. premiere of “One Charming Night” (2012). The work’s title taken from a passage in Henry Purcell’s opera The Fairy-Queen that reads: “One charming night gives more delight, than a hundred lucky days,” ironically was not about delight, but rather the emotionally charged feelings of those on either side of a military conflict.

Set to music by Purcell, Oum Kulthoum and Max Richter, the work began with eight dancers in street clothes moving as a unit briskly walking about the stage. The choreography was a mix of stylized pedestrian movement and gestures. It had its dancers jutting their heads forward like chickens, posturing like apes and hopping backwards all to a vibrant tune by late Egyptian singer Kulthoum.  Gross’ choreography was at once similar in movement quality to other contemporary Israeli choreographer’s works, but also managing to be unique in its organization and delivery.  Projected behind the dancers like a moon in the night sky, was a small circular projection of the infrared shelling of a military target that grew larger and more defined as the work progressed.

Soon dancer Cassidy Isaacson was singled out from the group.  She stood center stage looking nervous as the others circled her like predators.  Isaacson’s gaze followed them occasionally snapping her head round to keep track of all of them.  Gross’ simple yet highly effective choreography along with Isaacson’s demeanor and facial expressions created a palpable sense of danger. Isaacson was then joined by dancer Yuka Oba, both under the scrutiny of the others.  The quietly powerful and engaging work then shifted gears turning its attention outward at the audience with Oba now circling the stage intensely glaring out into the audience with an expression of indignation as electronic music a la England’s The Prodigy hastened her pace.

GRB’s dancers were capable and marvelous in Gross’ work which resonated a kind of understated brilliance that echoed long after the curtain fell on its final images of the circular projection grown to immense size showing the flashes of explosions accompanied by sounds of gunfire and chaos, the  dancers with their backs to the audience clustered staring at it. And as the cacophony of sound began to fade, Oba once again took to circling the stage piercing the audience with an accusing gaze.

Grand Rapids Ballet dancers Ednis Gomez and Yuka Oba in Sagi Gross’ “Strings.”

Whereas Gross’ “One Charming Night” dealt with emotions caused by global events, the world-premiere of Texas-based choreographer Gina Patterson’s “To the River” explored images of personal introspection. The somewhat surreal contemporary ballet for eight men and seven women set to music by singer-songwriter Peter Bradley Adams poured forth fleeting scenes of interpersonal relationships. Some of the ballet’s dancers fluctuated between being characters in the scenes and being scenery elements for them. In one section involving a pas de deux between Oba and dancer Isaac Aoki, the other dancers formed a hill of boulders upon which Oba stood staring out into an imaginary river contemplating her life.

Patterson’s choreography for the dancers was for the most part graceful and pretty within an atmosphere that oozed melancholy.  Another scene playing into that mood was that of Isaacson in a struggle with dancer Ednis Gomez.  As Gomez tried to corral Isaacson to him she pulled away and repeatedly dropped to the floor as they walked side-by-side he lifting her to have her fall again.

The ballet culminated in a ghostly final scene danced to Adams and Caitlin Canty’s haunting song “To the River” in which Aoki stood atop a hill of dancers gazing outward to a sad Oba as several female dancers lifted by their male partners into backward layouts spun in a circle like the pieces of a slow moving  mobile.

For the premiere of Gross’ second work on the program “Strings,” the choreographer said prior to its performance that he had as its inspiration the idea of a ballerina being electrocuted.  The duet danced by Oba and Gomez played into that imagery with Oba en pointe being held in place by Gomez and violently shaking one leg as she raised it and quickly lowered it back to its start point.  In between repeating that movement, she sharply snapped her head to one side and back and shot one arm into the air and down in a similarly sharp fashion.  Oba’s deadpan facial expression and arms and hands extended down in front of her mimicking her taut legs made her look robotic.  Gomez then got into the act shaking one hand violently as if also being electrocuted.  The pair then moved off their stationary start point and began producing rigid contemporary movement that had one or both of them crab walking, swooshing like a speed skater and bending into stretching exercises all to the music of Franz Schubert.  The brief and quirky duet ended with the emotionless Oba returning to her opening pose and coming down from pointe and abruptly marching off stage which sent chuckles through the audience.

The program closed with the world premiere of Andrew Bartee’s “People are disappointing thank you” set to music by Alva Noto, Peter Hansen and Nils Frahm.  In front of three flat panels, thirteen dancers all in white moved like malfunctioning “fembots” from the Austin Powers film series to a soundscape of noise dotted with dropouts as if listening to it through a moving fan.

Bartee’s choreography for the piece ran through various dancer groupings and was sharp and angular, sprinkled with repeating phrases such as a step, shimmy and stare. And like the bright lines and geometric shapes that began to crawl along the back panels populating them like a computer screensaver, the work became mesmerizing.

In the end, MOVEMEDIA Program One proved a most interesting and diverse program danced splendidly by GRB’s dancers; one that pushed the growth of the company and audience expectations of it.

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